A Study on the Art Market of Calligraphy and Painting in Jiangnan in Ming and Qing Dynasties - Take Qiu Ying's “Qing Ming Shang He Tu” and Xu Yang's “Gu Su Prosperity Tu” as an example

• 영문명: 明清时期江南地区书画艺术市场研究—以仇英《清明上河图》与徐扬《姑苏繁华图》为例
• 발행기관: Korea Institute for Humanities and Social Sciences(KIHSS)
• 저자명: 随成龙(SUI Chenglong)
• 간행물 정보: 『Journal of Global Arts Studies (JGAS)』Vol.2, No.4, 13~23쪽, 전체 11쪽
• 주제분류: 인문학 > 기타인문학
• 파일형태: PDF
• 발행일자: 2024.12.31

국문 초록

[Background] During the Ming and Qing dynasties, with the prosperity of the commodity economy, the art of calligraphy and painting in the Jiangnan region gradually became commercialized. The citizen class increasingly participated in art collection and consumption, driving the flourishing of the art market and the widespread dissemination of cultural capital. [Objective] This study analyzes Qiu Ying's Qingming Shanghe Tu and Xu Yang's Gusu Prosperity Tu to explore the phenomenon of commercialization and marketization of calligraphy and painting during the Ming and Qing dynasties and to reveal its impact on the popularization of cultural capital. [Method] Using these two works as primary texts, the study employs iconographic analysis and literature review methods to elaborate on the representation of the art trade in the Jiangnan region depicted in the paintings. By combining visual and historical evidence, it examines the complex interactions between art and the market, and discusses the evolving trends of calligraphy and painting under the influence of commercialization. [Results] The findings show that Qingming Shanghe Tu and Gusu Prosperity Tu vividly depict the prosperity of the Jiangnan region during the Ming and Qing dynasties, reflecting a close connection between visual culture and material culture. The artworks illustrate how the sanctity and sublimity of calligraphy and painting gradually eroded under commercial influences, transforming into art forms appreciated by both the elite and the common people. [Conclusion] This research deepens the understanding of the art market in Jiangnan during the Ming and Qing dynasties, highlighting the profound impact of commercialization on art forms and the dissemination of cultural capital, offering new perspectives for contemporary studies of the art market.

영문 초록

【背景】明清时期，随着商品经济的兴盛，江南地区的书画艺术逐渐走向商业化，市民阶层日益参与艺术收藏与消费，推动了书画市场的繁荣及文化资本的广泛传播。 【目的】本文通过分析仇英的《清明上河图》与徐扬的《姑苏繁华图》，探讨明清时期书画艺术的商业化与市场化现象，并揭示其对文化资本大众化的影响。 【方法】研究发现，《清明上河图》与《姑苏繁华图》生动描绘了明清时期江南地区的繁荣景象，反映了视觉文化与物质文化的深刻联系。两幅作品揭示，在商业化影响下，书画艺术逐渐丧失原有的神圣性与崇高性，演变为雅俗共赏的艺术形式。 【结果】仇英与徐扬在《清明上河图》《姑苏繁华图》之上描绘了明清江南地区世俗繁荣景象，作为明清视觉文化与物质文化、历史文化的见证，二图表明在商业化因素的冲击下，书画艺术的神圣性与崇高性逐渐丧失从而走向雅俗共赏。 【结论】本研究进一步加深了对明清江南书画艺术市场的理解，展示了商业化对艺术形式及文化资本传播的深远影响，为当代艺术市场研究提供了新的视角。

목차

1 引言

2 跨越两百余年的对话：仇英《清明上河图》与徐扬《姑苏繁华图》

3 “文化资本”的下沉：明清书画艺术的商业化发展

4 “护魅”与“失魅”：明清书画艺术的“神坛跌落”

5 结论

参考文献

키워드

“Qing Ming Shang He Tu” “Gu Su Prosperity Tu” Ming and Qing Dynasty Painting and Calligraphy Art Market Commercialization 《清明上河图》；《姑苏繁华图》；明清书画艺术市场；商业化