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本文所阐述的,是董其昌的画禅与诗禅之间,亦即他的绘画思想与传统文学观念之间的关系。董氏的“南北宗论”和他的文人画思想的最高宗旨,以及其中存在的种种矛盾现象,我们都可以从传统文学观念之中一一找到其思想源头。藐视匠气、作家气,将逸品置于神品之上,视陶渊明高于杜甫——这种自苏轼以来的历代文人的鉴赏观念,事实上也很早就被移用于绘画,而董其昌则是运用这种文人鉴赏观念来阐述绘画的一个突出者。本文通过将董氏的绘画思想与传统文人观念进行有
What this article elaborates is the relationship between Dong Qichang’s painting Zen and the poem and Zen, that is, the relationship between his painting ideas and the traditional literary concepts. Dong’s theory of “Northern and Southern Communism” and his ideals of literati painting, as well as the various contradictions that exist among them, can all be found from the traditional literary concepts. Contempt for the power of the air, writers, put the Essence above the goddess, depending on Tao Yuanming higher than Du Fu - this kind of appreciation of the literati since ancient times, since Su Shi’s conception, in fact, has long been shifted to painting, while Dong Qichang Is to use this concept of literary appreciation of painting to highlight a prominent person. In this paper, Dong’s painting ideas and traditional literati ideas are carried out