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本文以上海博物馆馆藏历代山水画精品为切入口,研究中国山水画的发展脉胳及其阶段性特徵,认为中国山水画出现於战国之前,滋育於东晋,确立於南北朝,兴盛於隋唐,成熟於五代宋金,文人化於元代,多元化於明清。纵观中国山水画发展史,可见唐之意气,宋之心境,元之气质,明之错综,清之曲折。本文进行史论与画论的双重关注、画家与流派的整体辨析、山水画与题画诗的互动研究,尤其对影响深远、争论至今的“南北宗说”进行辩证思考。本文对上海博物馆馆藏历代山水画精品的理论探索,重史实,立史论,无疑是山水画历史脉胳的整理、山水画历代精品的巡礼、山水画理论积淀的再识、山水画流派衍生的探源和山水画发展规律的揭示。
This article takes the fine arts of landscape paintings of ancient museums in Shanghai as the entrance to study the developmental veins of Chinese landscape paintings. It considers that the Chinese landscape paintings appeared in the Eastern Jin Dynasty before the Warring States period, established in the Northern and Southern Dynasties, prospered in the Sui and Tang dynasties, matured in the Five Dynasties and Song Dynasty Gold, literati in the Yuan Dynasty, diversified in the Ming and Qing dynasties. Throughout the history of the development of Chinese landscape painting, we can see Tang’s intentions, Song’s state of mind, Yuan’s temperament, Ming’s intricate, Qing twists and turns. This thesis carries out the double attention of the history theory and the painting theory, the whole analysis of the painter and the genre, the interactive study of the landscape painting and the painting poetry, especially the dialectical thinking of the “Northern and Southern Religion”. This article undoubtedly summarizes the historical pulse of landscape painting, the grand ceremony of landscape painting, the re-recognition of the accumulation of landscape painting theory, the origin of landscape painting and the development of landscape painting Revealed the law.