明代中晚期，随着商品经济的繁荣与文人审美的世俗化转向，清玩之风盛行一时，文人绘画中出现了大量日常生活物象，清供题材绘画也表现出更多样的形式。 本文以孙克弘清供题材绘画作为重点，对孙克弘清供题材绘画所产生的的时代背景、文化寓意、表现形式、文人趣味做了梳理。从分析中得出晚明时期奢侈、尚奇的社会风尚使得大量的玩好之物充斥于文人书房，为其选择清供题材作为描绘对象奠定了物质基础；孙克弘“带冠闲住”的隐居生活，正是这个时期文人的体现，他辇奇石，置文玩，把精力投入自己的生活住所当中，并与士友往来。思想审美方面的碰撞，文房之物的雅赏与置换，使得孙克弘更多的投身于清供绘画创作，再对其家学的梳理可知，其父为人平淡，高洁的品格对孙克弘清供题材绘画古淡清雅的风格有着根本性的影响。以上诸种因素，逐步形成其追求平淡高雅的绘画风格。 其清供题材作品与同时代的人相比，在题材选择上虽都有相同的追求美好吉祥寓意，但在艺术表现上，孙克弘喜用渴笔、淡墨、淡彩来体现个人追求苍古简逸、古淡自然的艺术特点。通过长卷的形式，以时间为轴，留下了不易察觉的空间切换。明窗静几，孤坐卧游，兴至则以案头清供绘之，体现孙克弘追求平淡天真、守拙求静的精神。 笔者希望通过本文的研究，使孙克弘的清供题材这一独特的绘画对象为更多学者关注，让孙克弘的研究全面化，也对笔者受到启发，绘画创作关注时代、关注生活、关注文化，显然更具有现实性的意义。

With the prosperity of the commodity economy and the secularization of literati aesthetics, the Qing play style dominated for a while during the middle and late Ming Dynasty. In the paintings of literati, a huge number of everyday objects were depicted, and the number of forms in Qing offerings-themed paintings increased as well. This paper explores Sun Kehong's paintings on the subject of Qing offerings and sorts out the historical context, cultural significance, artistic expression, and literati appeal of these works. From the analysis, it can be deduced that the opulent and eccentric social trend of the late Ming Dynasty filled the literati's study with a vast number of fun objects, providing a material basis for him to choose cleansing offerings as the topic of his representation. The "living idle with a crown" lifestyle of Sun Kehong exemplifies the literati of this age. He tended to unusual stones, wrote and played games, devoted energy to his living quarters, and conversed with academics. Sun Kehong devoted time to the development of Qing Dynasty paintings due to the collision of ideas and aesthetics as well as the beautiful evaluation and replacement of objects in his studies. After researching his family history, it is evident that his father was a simple guy, therefore his noble character had a significant influence on the old and exquisite style of Sun Kehong's offerings-themed paintings. The above elements gradually shaped his pursuit of a simple and refined painting style. Compared to his contemporaries, Sun Kehong's works on the subject of Qing offerings share the same pursuit of good and auspicious meanings in the selection of subject matter. However, in terms of artistic expression, Sun Kehong prefers to use thirsty brush, light ink, and light colour to express his personal pursuit of ancient, simple, ancient and natural artistic characteristics. In the form of a long scroll, he uses time as the axis, leaving an invisible space transition. He sits quietly and alone by the bright window, resting when he is exhausted and painting Qing offerings on the table when he is in the spirit. The author hopes that via the research of this paper, more scholars will focus on the unique painting object of Sun Kehong's confession topic, enabling Sun Kehong's research to be exhaustive and inspiring the author as well. In addition, this paper aims to make painting production more realistic by emphasizing the importance of time, life, and culture.