从“杂技”到“游戏毫端”：张宏《杂技游戏图》题名考释

From “Acrobatics” to “Play at the Brush Tip”: A Study of the Title of Zhang Hong’s Acrobatics and Games

摘要: 张宏《杂技游戏图》题名中的“杂技”与“游戏”并非随意标举，而是晚明文化的重要概念。本文梳理“杂技”自汉代百戏混沌，经魏晋分化、唐宋商业化专业化，至元明文人审美介入的演变。继而从文人观念与明代民间图景来阐释“游戏”。张宏以职业画家身份援引文人游戏观，同时命名体现世俗游乐内容与自身非功利创作姿态，在雅俗交融中完成文化定位，题名因此成为晚明市井生活与文人趣味互渗的艺术表达。

Abstract: The terms “acrobatics” and “games” in the title of Zhang Hong’s Acrobatics and Games are by no means arbitrary labels; they are important concepts in late Ming culture. This article traces the evolution of “acrobatics” from the undifferentiated baixi of the Han dynasty, through its differentiation during the Wei and Jin periods, its commercialization and professionalization in the Tang and Song, to the intervention of literati aesthetics in the Yuan and Ming. It then interprets “games” from the perspectives of literati thought and Ming popular imagery. As a professional painter, Zhang Hong invokes the literati conception of play; at the same time, his title reflects both the content of popular entertainment and his own non-utilitarian creative stance. In this blending of the refined and the popular, he achieves a cultural positioning. The title thus becomes an artistic expression of the mutual permeation of late Ming urban life and literati taste.