明清之际,处于资本主义萌芽、人文思潮澎湃的变革时代。人性的觉醒,封建传统家法伦理受到极大的冲击,中国封建社会的文学艺术达到了一个历史的高峰。滥觞于魏晋的文人画,亦成为占主导地位的绘画。徐渭、陈洪绶、董其昌、八大、石涛、扬州八怪等等代表了中国传统文人画的最高成就。而资本主义的萌芽,直接导致了生产力的发展、商品贸易的兴盛。商品化对文学艺术的影响日益明显,使得人文艺术与民间美术有了一种深入地交流。作为依附于日常用品上的景德镇陶瓷画,通过对文人画的吸收与变化,以及生产规模的扩大、生产技术的提高,达到了景德镇陶瓷画的鼎盛时期。本文拟从明清之际的历史变革的现状,文人画与景德镇陶瓷画的题材、风格等等来研究文人艺术与民间美术的相互影响、吸收与变化。 At the turn of the Ming and Qing dynasties, the CCP was in the era of revolution with the seeds of capitalism and surging humanism. The awakening of human nature and the feudal ethics of traditional family law have been greatly affected. The literature and art in China’s feudal society have reached a historic peak. The literati painting originating in the Wei and Jin dynasties also became the dominant painting. Xu Wei, Chen Hongshou, Dong Qichang, the Big Eight, Shi Tao, Yangzhou Baekai, etc. represent the highest achievements of traditional Chinese literati painting. The germination of capitalism has directly led to the development of productive forces and the flourishing of commodity trade. Commercialization of literary and artistic influence increasingly obvious, making the humanities and folk art has a deep exchange. As the Jingdezhen ceramic painting attached to the daily necessities, through the absorption and change of the literati painting, as well as the expansion of the production scale and the improvement of production technology, it reached the heyday of the Jingdezhen ceramic painting. This article intends to study the interaction, absorption and change of the literati art and folk art from the status quo of the historical changes during the Ming and Qing Dynasties, the literati painting and the theme and style of Jingdezhen ceramic painting.