CAJ | 학술논문

明遗民画家处于明清两朝易代之际，由于对政治抱疏离态度，多数人追求隐逸的生活。但他们的“隐逸”建立在“遗民”的政治身份之上，被动“遗”世的命运和主动“逸”世的选择产生出态度、行为以及作画风格的两极化状态。首先，明遗民画家在对“遗民”语义的厘定中，与“逸民”身份划清界限，是对易代之际节义的强调；而明清画坛标榜“逸气”，明遗民画家的创新能力又使“逸品”得到了新的诠释。其次，明遗民画家在隐逸生活中的穷愁、欲有所为的反机以及谋生手段的多样奇特表现出与历代文人迥然不同的“逸”世特征，“遗”与“逸”在此又发生碰撞。最后，明遗民画家绘画中“技巧的仿古”与“目的的遣兴”，形成狂放与隐忍风格的两极发挥，这和“遗”与“逸”共同在他们身上的结合有很大关系。
명유민화가처우명청량조역대지제，유우대정치포소리태도，다수인추구은일적생활。단타문적“은일”건립재“유민”적정치신빈지상，피동“유”세적명운화주동“일”세적선택산생출태도、행위이급작화풍격적량겁화상태。수선，명유민화가재대“유민”어의적전정중，여“일민”신빈화청계한，시대역대지제절의적강조；이명청화단표방“일기”，명유민화가적창신능력우사“일품”득도료신적전석。기차，명유민화가재은일생활중적궁수、욕유소위적반궤이급모생수단적다양기특표현출여역대문인형연불동적“일”세특정，“유”여“일”재차우발생팽당。최후，명유민화가회화중“기교적방고”여“목적적견흥”，형성광방여은인풍격적량겁발휘，저화“유”여“일”공동재타문신상적결합유흔대관계。
Adherent Painters of the Ming Dynasty, living in the turning of Ming and Qing Dynasty, feel alienated from politics and pursue a reclusive life. However, their ＂seclusion＂ is on the basis of their political identity as ＂adherents＂, which has polarized their attitudes, actions and painting styles. Their imitation of ancient paintings skills and expression of inner unrestraint spirits are closely related to their double identity concerning ＂adherence＂ and ＂seclusion＂.