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苏轼的文化身份和社会身份的多样性以及他对绘画理论的阐发决定了他处于熙宁后期士大夫画家的中心地位。“士人画”概念的提出将北宋画坛的典范指向了两位画家:王维和李公麟。这一指向具有重要的画史意义:一方面,从理论上弱化了吴道子的“画圣”地位,将在唐代绘画传统中地位并不突出的王维推到了前台;另一方面,将李公麟作为士人画创作的典范标举出来,树立了新的画坛典范。这一概念的提出也反映了士大夫开始在绘画美学领域发挥其独特的影响力。
Su Shi’s cultural identity and diversity of social identities as well as his analysis of the theory of painting determine that he is at the center of Scholar-artist painter in the late Xi-ning period. “Scholar Painting ” concept put forward the North Song Painting Forum model pointing to two painters: Wang Wei and Li Gonglin. This point has important historical significance: On the one hand, it weakens Wu Daozi’s status of “painting the sacred” theoretically, pushing Wang Wei, whose status is not prominent in the traditional painting tradition of the Tang Dynasty, to the foreground; on the other hand, , Li Gonglin as a model for scholars painting set out, set a new model of painting. The proposal of this concept also reflects that Scholar-officials started to exert their unique influence in the field of painting aesthetics.