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自二十世纪二十年代初陈衡恪发表大作《文人画之价值》以来,在研究者与一般人的心眼中,便逐渐有了“文人”是可爱可敬的这样一个“文人画”研究根深蒂固之预设,而据本文考察,“文人”在清末民初以前历史文化衍化中意蕴变动较大:三代秦汉“文人”因有“文”有“德”而被揄扬,魏晋至清末民初因多“文”缺“德”被贬抑。在东汉迄清末一千九百余年国族历史文化衍化的主流意识形态中,“文人”不但不可爱、不可敬,反倒“缺德”、可恨,声名狼藉。从而在很大程度上打破了上述预设。
Since the early twenties of the twentieth century, Chen Heng Ke published a masterpiece, “the value of literati painting”, in the minds of researchers and the average person, they gradually have a “literati” is a lovely and respectable “literati painting” According to the study of this article, “literati ” has great changes in the historical and cultural evolution before the end of the Qing Dynasty and the beginning of the Republic of China: the three generations of Qin and Han And was Yang, Wei and Jin to the late Qing dynasty due to more “text ” lack “Germany ” was relegated. In the mainstream ideology derived from the history and culture of the nation from the Eastern Han Dynasty to the late 19th and late Qing dynasty, the “literati” was not only unlovely and irreverently, but “wickedly” rather hateful and infamous. Thus largely breaking the above presupposition.