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看画哦诗重慷慨,百年翰墨付微茫。已怜挥洒如摩诘,可忍悲歌似子昂。名士几人称妙手,旧游随处搅愁肠。云林故事惟文藻,遗迹偏多在远乡。这是元末诗人韩奕的《奉次云林画上诗韵》诗文,诗中的后两句略有感叹,耐人寻味。其中表明,元末世人对倪瓒的认同多半停留在文学层面,而他的绘画则是少有人知的。但是到了明代晚期,由于董其昌对于他的大力推崇,使他的绘画认同度得到了广泛的提升。虽然董氏的“南北宗”论多有偏颇,然而我们也不得不承认他在艺术敏感性上的能力。那么,倪瓒的生命究竟隐藏着什么能让他的历史地位出现这样的反差?人们对于他的理解是否也存在着偏颇?本文将从
Poems Oh poem heavy generosity, centennial John Mo pay a feeble. Has been mourning as Momo, can bear the sad song like Ang. Celebrity called a few handkerchief, old tour everywhere sad melancholy. Yunlin story but text algae, monuments and more in far rural. This is the late Yuan Dynasty poet Han Yi’s “Feng Yun Yun Lin painting poem” poem, the poem in the last two slightly sigh, thought-provoking. It shows that most of the world’s endorsements of Ni 停 stayed at the literary level, while his paintings were scarcely known. But by the late Ming dynasty, due to his great esteem, Dong Qichang made his painting identity widely promoted. Although Dong’s theory of “Northern and Southern Buddhism” is biased, we also have to admit his ability in artistic sensitivity. So, what exactly is Ni Nai’s life hidden in his historical position so that there is such a contrast? People for his understanding of whether there are biased?