扬州八怪

历史

扬州八怪之说始见于清末汪鋆《扬州画苑录》，但只提及李葂和李鱓二人。其具体人数亦不止八人，综合《扬州画苑录》、《天隐堂集》、《瓯钵罗室书画目过考》、《爱日吟庐书画补录》、《古画微》、《中国绘画史》等各家说法，计有十五人。今多采李玉棻《瓯钵罗室书画目过考》的说法，指金农、郑燮、黄慎、李鳝、李方膺、汪士慎、罗聘、高翔八人。其他被称为“扬州八怪”尚包括华嵒、高凤翰、边寿民、陈撰、闵贞、李葂、杨法等。

金农为扬州八怪之首，晚年曾被举荐博学鸿词科。他们只有五人是扬州籍，其他则来自全国各地，也没有终生在扬州活动。扬州八怪的共同特点是，他们愤世嫉俗，不向权贵献媚，了解民间疾苦。重视思想、人品、学问、才情对绘画创作的影响。他们的文学及书法修养都很高。画题以花卉为主，也画山水、人物，在于继承宋、元以来，等写意的传统，摆脱了画坛上保守派格遵清规戒律的影响，高度发挥了即景写生，即景抒情的创造意志。《扬州画苑录》写道：“同时并举，另出偏师，怪以八名，画非一体。似苏、张之辟阖，徐、黄之遗轨。率汰三笔五笔，覆酱嫌粗；胡诌五言七言，打油自喜。非无异趣，适赴歧途。示崭新于一时，只盛行乎百里。”他们又都擅长书法、文学、印章。因之形成诗、书、画综合艺术的整体，人称“三绝”，为绘画艺术的发展，开辟了新的途径，和当时的所谓“正统”画风迥然不同。今存八怪收藏有8000余幅。

Eight Eccentrics of Yangzhou (simplified Chinese: 扬州八怪; traditional Chinese: 揚州八怪; pinyin: Yángzhōu Bā Guài) refers to a group of eight Qing dynasty Chinese painters active in the eighteenth century who were known for rejecting the orthodox ideas about painting in favor of a style deemed expressive and individualist.

The term was also used because they each had strong personalities at variance with the conventions of their own time. Most of them were from impoverished or troubled backgrounds. Still, the term is, generally, more a statement about their artistic style than any social eccentricities.

The eight had an influence on and association with painters like Gao Fenghan, as well as several others.

The Eight

• The generally accepted list is:
• Wāng ShìShèn (汪士慎) (1686–1759)
• Huáng Shèn (黄慎) (1687–1768)
• Lĭ Shàn (李鱓/李鳝) (1686?–1756)
• Jīn Nóng (金农) (1687–1764)
• Luō Pìn (罗聘) (1733–1799)
• Gāo Xiáng (高翔) (1688–1753)
• Zhèng Xiè (郑燮), also known as Zhèng BănQiáo (郑板桥) (1693–1765)
• Lĭ FāngYīng (李方膺) (1696–1755)
• Alternate lists include:
• Huang Shen, Li Shan, Jin Nong, Zheng Xie, Li Fangying, Gao Fenghan, Bian Shoumin, Yang Fa
• Wang Shishen, Huang Shen, Li Shan, Jin Nong, Luo Pin, Zheng Xie, Min Zhen, Gao Fenghan