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一、“水墨之兴”研究之回顾“水墨之兴”的说法来自荆浩《笔法记》:“如水墨晕章,兴吾唐代。”关于“水墨之兴”的传统论述,主要依赖于对文人画的研究,明董其昌等人将王维奉为南宗画之祖,并说“王摩诘始用渲淡,一变勾斫之法,”树立了王维文人画之祖和水墨渲染始用者的形象。关于水墨画的产生及始创者后世论者大多沿用董其昌的说法。直至1937年童书业写的《唐宋绘画谈丛》中“水墨渲染法的出现”一节还依旧沿用董说。倒是日本学者内藤湖南运用考证学的方法在其《中国绘画史》(1930
One, “Ink of the Hing ” Review of the study “Hing Ink ” is from Jing Hao “Writing Notes”: “Such as ink halo chapter, Xing Wu Tang Dynasty. ”The traditional discourse mainly relies on the study of literati paintings. Ming Dongchangchang et al. Named Wang Wei as the ancestor of the Southern Zong painting, and said that“ Establish the ancestor of Wang Wei’s literati painting and the image of the user of ink and wash. Dong Qichang’s comments on the origin and creation of later generations of Chinese ink-wash paintings follow. Until 1937, the children’s book industry, ”Tang and Song Painting Collection“ in the ”appearance of ink and wash rendering “ section still use Dong said. It touches on the Japanese scholar Naito Hunan method of using textual research in its ”History of Chinese Painting" (1930