摘要
作为有明一代最重要的书画家之一,董其昌在画史上的重要地位很大程度上来源于其对传统变革性的继承。在"南北宗论"中,董氏将米芾、米友仁父子创立的米家山归为南宗画派,并对之推崇备至。而在个人绘画创作中,董其昌不但有大量临摹二米的作品,同时也赋予了米家山新的特点和意义。本文将从董其昌对二米的理论评价、作品鉴藏和绘画学习三个方面入手,探讨董其昌在米家山发展的历史脉络中所起到的重要作用。
As one of the most important calligraphers and painters in Ming Dynasty, Dong Qichang's important position in the history of paintings largely comes from his reform and inheritance of tradition. In "South and North Schools", Mr. Dong categorized Mi Fu and his son Mi Youren as the south school and admired them very much. In his own paintings, Dong Qichang imitated a lot of their works and endowed the Mis' mountains- and- waters paintings with new characteristics and meanings. Starting from the theoretical evaluation, works appreciation and collection and painting learning of Mi Fu and Mi Youren, this paper explores the important role of Dong Qichang in the history and development of the Mis' mountains- and- waters paintings.
引文
[1](明)董其昌.画旨[M].明崇祯刻本《容台别集》,冢孙庭,辑.
[2](明)董其昌.画禅室随笔[M].屠友祥,校注.南京:江苏教育出版社,2005.
[3]董宝厚.米氏云山及其娣传与嬗变[J].书画艺术,2009(2).
[4]林书传.董其昌与其书画鉴藏[D].南京:南京艺术学院,2012.
(1)(明)董其昌.画旨[M].明崇祯刻本《容台别集》(卷四).
(2)(明)董其昌.画禅室随笔[M].屠友祥,校.南京:江苏教育出版社,2005.