本文试图通过岁朝图来考察绘画与民间习俗的关系,以及由这种关系所引起的画家身份的变化。从相关材料来看,岁朝风俗在两宋和元明之际发生了一定的变化,由驱鬼除疫逐渐转向娱乐消遣,并带有浓厚的喜庆吉祥色彩。民间风俗与文人生活方式的结合,产生了以插花、盆景为主要内容的“岁朝清供”习俗。与此同时,岁朝风俗也开始成为画家的表现对象。画家对民间习俗观念的认同,反映了其身份的变化,即由传统的文人向职业画家靠拢。 This article attempts to examine the relationship between painting and folk customs through the year-long map and the changes in the artist’s identity caused by this relationship. From the relevant materials, the custom of the age of the ancestors took place some changes in the two Song Dynasties and the Yuan and Ming dynasties, and gradually changed from exorcism to entertainment, with a strong auspicious color. The combination of folk customs and literati lifestyles has resulted in the custom of “providing for the Qing Dynasty” with the main content of flower arrangements and bonsai. At the same time, the custom of the old court also began to become the object of performance of painters. The artist’s recognition of the folk custom concept reflects the change of his status, that is, from the traditional literati to the professional painter.