士大夫集团文化性格的完成与文人画的产生

士大夫在传统社会的基本架构中兼具政治集团与文化艺术创造集团的双重特质。士阶层出现了儒与侠的分途后,单纯意义上的古代人文知识分子开始出现。而士大夫的以道自任的文化性格也开始肇端。秦汉时期学士、文吏的分途与混一,造成了政治集团与文化创造集团合一的世族阶层,士大夫双重特质的构架开始产生。科举制度产生后,士大夫全体成为完全意义上的"仰禄之士",文化性格中的体道与忠君的矛盾更加深刻,科举也强化了士大夫作为文化独占集团的特征。随着宋代士大夫之政、士大夫之学的空前统一,士大夫集团的文化性格最终完成,而文人画也由此肇端。宋代士大夫之学也决定了后世文人画的一些基本美学特征:即在美学终极目标上体道、艺术立场上强调士气、艺术操作层面要求传神而忽略形似。古代士大夫阶层的人文理想主义精神为中国近代知识分子阶层所继承,并在新的内涵上形成知识分子的新操守,中国文人画在近现代完成了创作主体的转变,继承传统文化价值是当代中国画发展的重要课题。

The Maturity of the Literati and Officialdom's Cultural Traits and the Origin of the Painting of Man-of-letters in Ancient China

The literati and officialdom in ancient China was not only a political group but also a culture one since they began to regard propagating Confucian doctrines as their own responsibilities when the group was separated into Confucian followers and chivalrous swordmen. The dual traits of the literati and officialdom originated during Qin-Han period because of the formation of the noble clan which were both scholars and officials. After the beginning of the Imperial Examination System, the literati became the officialdom while they took the key position to do cultural and academic activities. The cultural traits of the group had been matured in Song dynasty since the literati's learning and the officialdom's politics had been fused than ever before, then, the painting of Man-of-letters came into being. Some basic aesthetic characteristics of the painting of Man-of-letters had been formed in Song dynasty, such as refecting the Tao, focusing on the literati's spirit, and being alike in spirit rather than in appearance. It is an important project now for the modern China painters that to inherit and develop ancient China tradition since some of which had been kept, and some had been renewed in the past hundred years.