清末民初上海画派与民间赞助

发布时间：2018-05-27 19:37

本文选题：赞助 + 上海画派　；参考：《中国人民大学》2008年博士论文

【摘要】： 在清末民初近半个多世纪的时间里,全国各地的画家纷纷涌入上海,仅在报刊上刊登润例卖画者就有2000余人,至于从事与书画有关活动的画家就更多了。他们寓居上海,形成了近代中国最后一个名家辈出、阵容浩大的画家群,即上海画派。其影响波及国内各地、甚至国外,超过了此前所有的地方画派,具有重要的美术史意义。上海商人在上海画派的形成和发展过程中产生了至关重要的作用。上海经济的繁荣是商人崛起并发挥作用的基础。开埠初期的上海只是一个三等县城,它能在短短数十年间发展成为全国、乃至远东的第一大都市,是因为在太平天国等数次大战乱中吸纳了十四个省、即近大半个中国的财富而飞速繁荣起来。在上海的商业化进程中,上海商人迅速积累资本,并将势力渗入其他城市,吸纳全国的资金,成为全国商界极富有的一群人。这群巨商除了进行商业投资和生活开度后,还出资赞助文化艺术事业的发展。他们兴办学校,高薪聘请学者、知识分子和画家担任各项职务;收集图书、金石画册等,投资建设向公众开放的图书馆;他们还出版了大量质量精美的文化艺术书籍,仅商务印书馆出版的画集就有百余种;在各项文化艺术交流活动中,也能看到商人活跃的身影,有些商人仅书画社团就创办了十几个。可见,推动艺术事业发展的必须是经济实力雄厚的大商人,一般的中小商人虽然富裕,但也只是维持小康生活,办不成大事。上海商人的地位也是比较高的,他们从“四民之末”一跃而为“四民之纲”,是社会各阶层争相结纳的对象,这更有力于他们从事发展自己喜爱的文化艺术。从上海商人的教育背景来看,他们中有的是从官僚和士绅转变而来,有的留过洋,整体文化素质较高,能够认识到发展文化艺术事业之必要。同时,上海商人主要来自江浙地区,传统文化底蕴深厚,他们中的许多人精通书画、诗文,有些人自己就是大画家、大收藏家。即使是留洋回来的商人,也同样热衷中国传统艺术,喜爱与画家相往来。商人需要画家,画家更需要商人。在商人与画家的交往过程中,商人不但在物质方面赞助画家,而且帮助他们在上海立足。但是,只有那些大商人才能通过自己的社会地位、人脉和号召力为画家的艺术事业打开局面,并繁荣上海画坛。许多有天赋的画家正是在上海商人的赞助和提携下,在上海、乃至全国声名鹊起。吴昌硕是后海派的领袖,他原来一直在苏州发展,后来在上海巨商王一亭的帮助下来到上海。王一亭介绍日本重要人物给他认识,宣传吴昌硕,还帮他做生意。吴昌硕不但在上海富裕起来,过上了安定的生活,而且后来在艺术上也取得高度成就,饮誉海外,王一亭对他的帮助起到了决定性的作用。其他的如盛宣怀、庞莱臣、虞洽卿、“小港李家”、陈小蝶等人都是赞助上海画派的重要商人。自上海开埠,大批外国人来到上海从商,国别有四十之多。他们中的许多人逐渐被中国的传统文化艺术和道德所深深吸引,生活方式与文化活动也开始中国化。他们模仿传统文人的生活方式建造中国式的私家花园,创办恢复中国古典文化的学校,购藏书画作品、赞助画家,其热衷程度有的甚至超过了中国人。其中,日本商人的艺术赞助活动最具代表性。他们比欧美商人更熟悉中国文化艺术,是中国书画市场中最早、购买力最强的赞助群体。虽然上海商人是民间赞助主力,资本雄厚、社会地位高,但市民阶层的书画购藏能力、对艺术的需求使之成为不可忽视的赞助力量。上海经济的发展,刺激了市民队伍的扩大,有钱有闲阶层激增。从1910年到1927年的17年间,人口增加两倍,约达246万人。一部分人从事商业活动,扩大了商人队伍,1914年,上海登记的主要各业商号就有近2000家,没有登记的就更多了。这些巨商,资本家,各类商行店铺的店主、老板、买办、中间商、批发商、零售商、经纪人等,形成了一个人数相当庞大的商人阶层。还有一部分人是上海新崛起的知识阶层,他们担任教师、编辑、记者、医生,或是自由职业者。在上海经济的稳定发展中,他们的收入也是稳步上涨,消费能力逐渐增强。中国人在稍有温饱的条件下,历来重视文化艺术方面的修养,这些有钱有闲阶层附庸风雅,需要书画,人数越多,需求量就越大,需要的画就越多。同时,为了满足市民阶层的物质消费,店铺馆肆、茶馆、酒楼、饭馆、烟馆、妓院、公园等各种休闲娱乐场所纷纷涌现。尤其是消费性场所的数量更多,民国八年上海的有名茶馆就有164家。这些消费娱乐场所主要是为有钱有闲阶层而开设,为了迎合他们的喜好,自然需要书法绘画作品来装点环境,营造出文化气氛,对画的需求量更大,全国的画家纷拥而至。即有耄耋之年的老者,也有才十六岁的少年;卖画的即有职业画家,也有文人画家,连擅长书画的前清遗老遗少、政界名流也加入到卖画队伍中。画家想要过得好,或发展艺术事业,都希望到上海来。市民阶层的艺术需要表现在三个方面:第一个方面是商业美术:商家为了招揽顾客,利用能被市民阶层接受的艺术的形式来进行商业竞争。上海是商业城市,中外厂商云集,至于商品种类更是繁多,需要很多画家来绘制广告画、宣传画、布景画、设计图案。尤其是月份牌画,市民阶层的需求量大,酬劳高,画家一个月的收入甚至可以买一辆小汽车。第二个方面是大众文化:市民需要文化消费,但大部分人的文化水平不高,以图片为主的刊物盛行一时。当时照相技术还未在上海普及,报刊杂志社需要聘请画家手绘图稿。上海是全国的出版中心,出版的图书占全国的70%,需要多少画家去创作。第三个方面是艺术院校的成立:社会对画家的需求量大,艺术院校应运而生。周湘是近代中国最早设立私立美术学校之人,从1909年至1922年在上海至少成立了7所美术学校。继周湘之后,上海美术专科学校成立,其他较突出的私立美术院校还有近十所。艺术院校通过培养学生,不但扩大书画家队伍,而且当时上海的知名书画家很多都在艺术院校任职,同时也有自己开画室的。近代上海巨匠、名家如黄宾虹、徐悲鸿、潘天寿、林风眠等等,无不崛起于上海。经济的发展,民间赞助群体的壮大在促进艺术发展的同时,也对其产生了一定限制作用。表现在两个方面,首先是影响了画家的思想意识。在上海画家眼中,书画就是商品,他们利用各种传媒手段刊登卖画广告,将书画作为商品公开出售。为了争取自己的顾客群,画家们在宣传上亦是各出奇思推销自己。上海经济发达,商机多,有些画家干脆“下海”从商,自己经营茶馆、开办文化艺术公司、办报纸刊物。这在过去,不但卖画谋生是为人所耻的行为,更不要说公开的从事商业活动。皆上海崇商趋利风气使然。第二、他们的艺术创作,从书画的内容、形式、技法,乃至画风也都受到了市民阶层意识的影响。比如“吴昌硕”为代表的金石派,作画一反传统的净、静、幽淡之尚,表现出豪迈飞动,生机勃勃的气息,但静气不足,浊气有余。这正是上海商人和市民的精神写照。市民阶层的传统文化根基以及画家思想意识的改变是上海画派繁荣的又一关键。 20世纪30年代后期,因战争等多种外在因素,上海的经济进入缓慢发展阶段,画家在上海的生存已经不像以前那样容易了。尽管租界的商业活动仍在发展,但1941年天平洋战争的爆发,上海租界的“孤岛”时代也宣告结束,很多画家离开了上海,后海派渐趋衰落。虽然之后上海这个大都市依然存在,画坛依然存在,但已无复清末民初之盛况、在全国处于绝对显赫之地位。可见,经济繁荣是画派兴盛的基础,如果没有上海商人的鼎力赞助,市民阶层对书画艺术的庞大需求,上海画派不会在清末民初时期逐步走向全盛。
[Abstract]:During the early more than half century of the late Qing Dynasty and early Republic of China, painters all over the country poured into Shanghai, more than 2000 people had been published in newspapers and magazines, and more artists engaged in calligraphy and painting activities. They lived in Shanghai, forming a large group of artists in modern China, a large group of artists, the Shanghai painting school. Its influence spread to all parts of the country and even abroad. It surpasses all previous local painting schools and has important artistic history significance.
The Shanghai merchants have played a vital role in the formation and development of the Shanghai School of painting. The prosperity of Shanghai's economy is the basis for the rise and play of the merchants. Shanghai is only a three County town in the early days of the opening of the port. It can be developed into the country and the first metropolis in the Far East for a few decades, because it is in the Taiping Heavenly Kingdom and so on. In the Second World War, fourteen provinces were absorbed, that is, the wealth of nearly half of China flourished. In the process of commercialization of Shanghai, Shanghai merchants quickly accumulated capital, infiltrated power into other cities, absorbed capital from the country, and became a very rich group of people in the business world. They also contribute to the development of cultural and artistic undertakings. They have established schools, high paid scholars, intellectuals and painters to hold various posts; they collect books, gold stone books and so on, and invest in the construction of libraries open to the public; they have also published a large number of fine arts and cultural books, only a hundred kinds of paintings published by the commercial press; In various cultural and artistic exchanges, we can also see the active figure of the merchants. Some businessmen have set up more than ten people only in the calligraphy and painting community. It is obvious that the development of the arts must be a big businessman with strong economic strength. Although the ordinary small and medium-sized businessmen are rich, they are also not a big event. The status of the Shanghai merchants is also the same. They are relatively high. They leap from "the end of the four people" to the "outline of the four people", which are the objects of the social strata, which are more effective in developing their favorite culture and art.
From the educational background of Shanghai merchants, some of them have changed from the bureaucrats and the gentry, some have left the ocean, the overall cultural quality is high, and the necessity of developing the cultural and artistic cause can be realized. At the same time, the merchants of Shanghai are mainly from the Jiangsu and Zhejiang provinces, and the traditional culture is deep, many of them are proficient in calligraphy, painting, poetry and some people. He is a great painter, a great collector. Even the businessmen who came back from the ocean are equally keen on Chinese traditional art and love to interact with painters.
Businessmen need painters, painters need businessmen more. In the process of communication between merchants and painters, businessmen not only sponsor painters in material terms, but also help them to stand in Shanghai. But only those big businessmen can open the situation for the artist's art career through their social status, human connections and appeal, and flourish the Shanghai painting world. Gifted painters, under the sponsorship and carrying of Shanghai merchants, are famous in Shanghai, and even in the country. Wu Changshuo is the leader of the post sea school. He has been developing in Suzhou, and later in Shanghai, with the help of the great merchant king of Shanghai. Wang Yiting introduced the Japanese important figures to him, publicize Wu Changshuo, and help him to do business. Chang Shuo not only became rich in Shanghai, lived a stable life, but also achieved great achievement in art, and he was famous overseas. Wang Yiting played a decisive role in his help. Other such as Sheng Xuanhuai, Pang Laichen, Yu SII Qing, "Xiao Gang Li family", Chen Xiao butterfly and others are important businessmen to sponsor the Shanghai painting school.
Since the opening of Shanghai, a large number of foreigners come to business in Shanghai and have more than forty countries. Many of them are gradually attracted by Chinese traditional culture, art and morality, and their ways of life and cultural activities have also begun to be Chinese. They imitate the traditional literati's way of life to build Chinese private gardens and establish a classical Chinese language. The school, the collection of calligraphy and painting works, the sponsorship of the painters, whose enthusiasm even exceeds the Chinese. Among them, the Japanese businessmen are most representative of the art sponsorship activities. They are more familiar with the Chinese culture and art than the European and American businessmen. They are the earliest and most powerful sponsoring groups in the Chinese calligraphy and painting market.
Although the Shanghai merchants are the main force of the folk sponsorship, the capital is strong and the social status is high, the ability to purchase and purchase books and paintings in the public class and the demand for art make it a non negligible sponsorship force. The economic development of Shanghai has stimulated the expansion of the public, the rich and the leisure stratum has surged. From 1910 to 1927, the population increased by two times, about 17 times. 2 million 460 thousand people. Some people engaged in commercial activities and expanded the merchant team. In 1914, there were nearly 2000 major businesses registered in Shanghai, which did not register more. These giant merchants, capitalists, shopkeepers of various commercial shops, owners, comprador, middlemen, wholesalers, dealers, brokers and so on, formed a large number of businessmen. Some of them are the newly rising intellectuals in Shanghai. They serve as teachers, editors, journalists, doctors, or freelancers. In the stable development of Shanghai's economy, their income is steadily rising and their consumption ability is gradually increasing. In order to meet the material consumption of the public, the more many people need a lot of painting and calligraphy. At the same time, in order to meet the material consumption of the citizens, the shop hall, the teahouse, the restaurant, the restaurant, the tobacco house, the brothel, the park and other recreational places have sprung up in a profusion, especially in the eight years of the Republic of China in the Republic of China in Shanghai. There are 164 famous teahouses. These places of entertainment and entertainment are mainly opened for the money and the leisure class. In order to cater for their preferences, they naturally need calligraphy and painting to decorate the environment, create a cultural atmosphere, and have a greater demand for the painting. There are professional painters and literati painters, who are good at painting and painting, and the celebrities are joined in the painting team. The painter wants to live well, or the development of art, all hope to come to Shanghai.
The artistic needs of the townspeople are shown in three aspects: the first is commercial art: in order to attract customers and make commercial competition in the form of art that can be accepted by the citizen class, Shanghai is a commercial city, the Chinese and foreign manufacturers gather, and the variety of commodities is more complex, and many painters need to draw advertising paintings, publicity paintings, and cloth. Landscape painting, design pattern. Especially the calendar painting, the citizen class has a large demand, high remuneration, a month's income and even a car. Second aspects are popular culture: the citizens need cultural consumption, but most people are not high in cultural level, and the publication of pictures is popular for a while. The photography technology was not in Shanghai at that time. Popular, newspapers and magazines need to hire painters hand-painted drawings. Shanghai is the national publishing center, publishing books account for 70% of the country, how many artists need to be created. The third aspects are the establishment of art colleges and Universities: the society has great demand for artists and the art colleges and universities came into being. Zhou Xiang is the first person to set up private art schools in modern China, At least 7 art schools were established in Shanghai from 1909 to 1922. After Zhou Xiang, Shanghai art academy was established, and there were nearly ten other prominent private art colleges and universities. By cultivating students, art colleges and universities not only expanded the ranks of calligraphers, but also many famous calligraphers and calligraphers in Shanghai were in the arts colleges and universities at the same time. He opened his own studio. The great masters of modern Shanghai, such as Huang Binhong, Xu Beihong, Pan Tianshou, Lin Fengmian and so on, all rise in Shanghai.
The development of the economy, the expansion of the folk sponsorship group in promoting the development of art, but also has a certain limit on it. In two aspects, the first is the influence of the painter's ideological consciousness. In the eyes of Shanghai painters, calligraphy and painting are commodities, they use various media means to sell painting advertisements and sell books and paintings as goods publicly. In order to win their customers, painters are also selling their own ideas in propaganda.
Shanghai is a developed economy and a lot of business opportunities. Some painters simply "go to the sea" business, run their own teahouses, set up cultural and art companies, and run newspaper publications. In the past, not only did the sale of paintings be a disgrace to people, but also not to say publicly engaged in commercial activities. All of which were Shanghai merchants and business activities. Second, their artistic creation, from calligraphy and painting The contents, forms, techniques, and even the style of painting have also been influenced by the consciousness of the citizens. For example, the golden stone school represented by "Wu Changshuo", painting an anti traditional, quiet, and faint scent, showing a heroic flying, vibrant breath, but a lack of statics and a surplus of cloud gas. This is the spiritual portrayal of the businessmen and citizens of Shanghai. The cultural foundation and the change of painters' ideology are another key to the prosperity of Shanghai painting school.
In the late 1930s, because of various external factors such as war, the economy of Shanghai entered the stage of slow development, the survival of painters in Shanghai was not as easy as before. Although the commercial activities of the concession were still developing, the outbreak of the peace war in 1941, the "island" era of the Shanghai concession was also ended, and many painters left. Shanghai, the Houhai school has gradually declined. Although the city of Shanghai still exists and still exists, the painting world still exists, but there is no great situation in the late Qing Dynasty and the beginning of the Republic of China. The prosperity of the economy is the foundation of the flourishing of the school of painting. If there is no great support from the businessmen of Shanghai, the huge demand for the art of calligraphy and painting by the citizens of the citizens, Shanghai. The painting school will not go to full bloom in the late Qing Dynasty and the early Republic of China.
【学位授予单位】：中国人民大学
【学位级别】：博士
【学位授予年份】：2008
【分类号】：J209.2;K252

【引证文献】