晚明以来,在江南地区出现大量的以文学、艺术为擅场的艺术家族,其中尤以常州地区的恽氏家族为特别。在恽氏家族中,早期以诗书传家,到晚明起,则以艺术传家,一直绵延至清代中后期,时间长达数百年。在恽氏艺术家中,以恽向和恽寿平的成就最为突出。恽向是恽氏艺术家族中第一个以绘事见长者,是恽氏家族从诗礼传家到以艺术传家的关键人物,是家族转型期的先驱。他不仅是一个身体力行的画家,更是一个在画学思想、创作理论方面有所建树的学者,在晚明山水画坛具有一定的代表性。因此,考察恽向及其艺术成就,便成为恽氏艺术家族研究不可绕过的一座分水岭。长期以来,学术界对恽寿平研究较多,而对恽向则鲜有所及。基于此,本文在在前人有限的研究基础上,以恽向传世作品和时人文献为依据,对恽向生平事迹、山水画成就、画学理论及其对画坛的影响展开论述与考察。恽向及其画学理论与画风,是晚明时代热衷传移模写、外师造化的山水画家的缩影。本文便是借一个艺术家族的个案解析,为人们认识晚明时代的山水画风提供另类参照。 Since late Ming, a large number of literary and artistic masters of the arts have appeared in the southern part of the Yangtze River, especially in the Chang family. In the family of 恽, the early family history of poetry and writing, Ming Ming up late, the art home, has been extended to the late Qing Dynasty, as long as hundreds of years. Among the artists of K’u-tsu, the achievements made by K’eong-tsu and Kou Shou-ping are the most prominent. Chi is the first artist in the family to draw things to see the elders, is the family of the family from poetry to pass on to the art of the key figures, is a pioneer in the family transition period. He is not only a painter practicing himself, but also a scholar who has made great achievements in painting thought and creative theory. He has some representativeness in landscape painting in late Ming Dynasty. Therefore, examining the direction and its artistic achievements has become a watershed that Cun’s family of artists can not bypass. For a long time, there have been a lot of researches in academia about 恽 寿 平, but few on 恽 恽. Based on this, on the basis of the limited previous studies, based on the works of the late Qing Dynasty and the literature of the time, this article discusses and examines the life story, the achievements of landscape painting, the theory of painting and its influence on the painting circle. His direction and his theory and style of painting are the epitome of landscape painters who are keen on transferring and writing molds and making good fortune in the late Ming. This article is based on the case analysis of an art family, providing an alternative reference for people to understand the landscape painting in the late Ming dynasty.