山水画“南北宗”论解析

• 作 者: 张建军
• 机 构: 上海大学中国艺术研究院,
• 出 处: 中国画画刊
• 发表日期: 2010年06期
• 关键词: 南北宗 莫是龙 李思训 詹景凤 米友仁 夏圭 董源 李昭道 马远 赵斡

一、“南北宗”论的提出者关于山水画“南北宗”论的提出者,曾有过一些争议。引起这些争议的主要原因在于董其昌提出“南北宗”论的《画旨》之文,与莫是龙《画说》中一段文字几乎完全相同。莫是龙是董其昌的同乡,同时又有朋友关系,而且年齿较董为长。因此对于董其昌的著作权,就有不少学者提出怀疑,又有些学者起而维护董其昌的著作权,双方围绕“南北宗”论

First, “North-South Zong ” on the proponent of landscape painting “North-South Zong ” on the proponents, there had been some controversy. The main reason for these controversies is that Dong Qichang proposed the “painting purpose” of “Northern and Southern Buddhism” as almost identical to a passage in Mo “s” Paintings “. Mo is the dragon is Dong Qichang’s fellow, at the same time have friends, and the teeth longer than Dong. Therefore, for Dong Qichang’s copyright, many scholars have raised doubts, and some scholars have upheld Dong Qichang’s copyright, both of which center around the theory of ”North-South"