CAJ | 학술논문

“戾家画”作为元代文人画的代名词，与技艺精熟的专门职业的“行家画”截然相对，这对对立范畴在元初已经形成。明代则从形式风格和气韵方面探讨文人画，由此衍生出“士气”与“作家”、“利家”或“隶家”与“行家”以及“逸家”与“作家”等相关提法。从其称呼变化及观念演进中，可以发现由元而明文人画发展之轨迹。但在明代艺术观念中，戏剧领域的“戾家”与“行家”观念之别不仅正好与绘画领域之意味相反，且与贬抑“行家”、推重“戾家”的绘画艺术观念也正好相反。这种观念之别源于绘画与戏剧艺术不同的风格好尚、不同的艺术性质和功用，也与文人追求自我和表现个性的审美观念和心理有关，彰显了艺术家向往自由、表现自我的时代个性。
“려가화”작위원대문인화적대명사，여기예정숙적전문직업적“행가화”절연상대，저대대립범주재원초이경형성。명대칙종형식풍격화기운방면탐토문인화，유차연생출“사기”여“작가”、“리가”혹“대가”여“행가”이급“일가”여“작가”등상관제법。종기칭호변화급관념연진중，가이발현유원이명문인화발전지궤적。단재명대예술관념중，희극영역적“려가”여“행가”관념지별불부정호여회화영역지의미상반，차여폄억“행가”、추중“려가”적회화예술관념야정호상반。저충관념지별원우회화여희극예술불동적풍격호상、불동적예술성질화공용，야여문인추구자아화표현개성적심미관념화심리유관，창현료예술가향왕자유、표현자아적시대개성。
The name of ＂Li Jia＂ was synonymous to literati paintings in Yuan Dynasty in contrast with the ＂Hang Jia Paintings＂ composed by skillful professional painters. The opposition between the two was formulated in the early Yuan Dynasty. Literati in Ming dynasty discussed the literati paintings from the perspectives of form, style and artistic conception, which gave birth to the proposals of ＂Shi Qi＂ and ＂Zuo Jia＂ , ＂Lia Jia＂ or ＂Li JIa＂ and ＂Hang Jia＂ and ＂Yi Jia＂ and other related ones. From the changes in the appellations of Li and Hang and the evolution of their ideas, the trajectory of the development of literati paintings from Yuan to Ming can be found. However, the difference of artistic concepts of Li and Hang in drama is the reverse of those for the paintings in Ming Dynasty. The conceptual difference is mainly due to different styles, artistic natures and functions of paintings and dramas, and is also related to the literati＇s aesthetics and psychology in their pursuit of self and expression of personalities. This concept highlights the era of personality of the literati artists yearning for freedom and individuality.