【摘要】 晚清时期,商业经济的发展为鬻艺谋生创造了基础条件,但在职业书画家的服务得到社会中新兴阶层欢迎的同时,他们也遭到了恪守传统价值标准的文人群体的批评和攻击。在小说《二十年目睹之怪现状》中,吴沃尧塑造了江雪渔这一形象,对职业书画家自我吹捧及不通文辞的现象进行讽刺,这从侧面说明当时的进步文人对待商业文化仍持极大的保留态度,不仅不认同其手段,而且尤其排斥其对传统价值观造成的影响,小说中吴氏对任伯年、任立凡、胡公寿等知名画家的点名攻击更是这一态度的集中体现。而另一方面,在书画艺术的发展方向逐步脱离文人阶层控制的同时,一部分犹豫于鬻艺和求学之间的艺人则遭到文人最为严厉的斥责,吴氏在小说中塑造的张超这一形象即是这一部分艺人的代表,这种态度可能使更多的底层文化人加入到鬻艺队伍中,从而对书画市场的发展产生深远的影响。更多还原

【Abstract】 In the late Qing Dynasty, the development of business economy created basic conditions forearning a living by selling art. Nevertheless, while the service of the professional painters and calligrapherswas well received by the rising class in the society, they were criticized and attacked by the scholars whoabided by the traditional values. In the novel Odd Things Witnessed over Twenty Years, Wu Woyao createdthe character of Jiang Xueyu, satirizing the phenomenon of professional painters and calligraphers’ boastingand being poor in language, which, from one aspect, indicates that the advanced intellectuals at that time hadextremely strong reservations about the commercial culture, and that they not only disapproved of the practic-es of the commercial culture but especially rejected the influence it exerted on the basic values of the soci-ety. Wu Woyao’s attacks against such famous painters as Ren Bonian, Ren Lifan, Hu Gongshou, etc. are aconcentrated reflection of his attitude. On the other hand, when the development of painting and calligraphygradually broke away from the control of the class of scholars, some artists who wandered between selling artand pursuing one’s studies were most severely rebuked by scholars. The image of Zhang Chao created byWu Woyao in the novel is a representative of such artists. The attitude like Zhang Chao’s most probablydrove more intellectuals to live at the bottom of the society into the team of selling art and produced a far-reaching influence on the development of painting and calligraphy.更多还原