南唐江南画的形成及其笔墨特征
摘要
南唐绘画在中国绘画史上占有特殊的意义,南唐烈主李昪(888-943)、中主李璟(916-961)、后主李煜(937-978)三朝,共三十九年。因政治上祖述李唐,故多效法唐朝体制,在文艺上出现了徐熙一族、董巨、卫贤、顾宏中、周文矩、曹仲玄等大家。南唐画家在水墨一路上多有继承吴道子、王维等唐法,对后世画史造成了巨大影响。米芾在《画史》中多次提及南唐“江南画”的概念。本论文旨在探究南唐江南画的形成原因及其笔墨特征。
第一部分南唐政权的意识形态及其江南画的形成背景:第一节略述李昪建立南唐后,以唐朝苗裔自居,充分继承唐代制度,并广泛收集前代图籍。烈主李璟,后主李煜两朝更是文风鼎盛,加之自身文艺素养极高,引导了南唐绘画之繁荣。第二节进一步了解南唐的地理特征,试图对南唐真山水之品有初步认识,查列南唐地域中的各地名胜。第三节阐述吴地画家自六朝以来就有悠久的绘画传统。特别是在人物画上最早也最完美地实践着“六法”的创作精神。
第二部分南唐江南画肇始了士大夫绘画的文学性自觉:第一节略述南唐的文化氛围,得出南唐江南画肇始了士大夫绘画的文学性自觉,这表现在江南画无论在立意,体裁上都具有文学化品格,特别在李煜时期,诗画的相融有一定的进展。第二节以卫贤为个案说明在南唐文化氛围及李后主的影响下,界画有了极大的突破,致使卫贤绘画成为不可多得的屋木门神品。
第三部分江南画确立了以“平淡天真”为宗的绘画审美:第一节略述董源在宋人画论中的地位变迁,从中看出米芾对董源的发现具有极为重要的影响。第二节略述明清画家的南北宗论,从中说明董源是如何被追奉为南宗祖师,并以此反观南唐江南画所具有的特质。第三节从《夏景山口待渡图》试论董源墨法上师承了张璪、王维开导的唐法,其皴法自水法的迁想妙得中来,并与顾恺之有内在的渊源。第四节比较董源的《溪岸图》和巨然的《山居图》,从两图的相似性,试谈董源写江南真山问题。第五节试图理清巨然在多大程度上继承了董源绘画的精神及其技法,同时还做了何样的突破。董巨在绘画史上的影响,巨然“烟岚景”起着重要贡献。
第四部分南唐江南画建立了以笔墨为核心的书画品格:南唐对书法的普遍重视,李煜自身诗书画三绝,全面引导南唐画风,以及南唐对文房用具的考究三方面说明以李煜为中心的南唐建立了江南画的笔墨品格,在绘画上强调“美韵,温秀,俊迈,蕴藉,格清”之品,主张书法与绘画的互济,特别是李煜“金错刀”对唐希雅,周文钜等产生了重要影响。第二节着重略述徐熙的生平问题,其原名应为徐景熙,徐熙应为南唐皇室的亲属,其地位介于贵胄与隐士之间。第三节略述徐熙的画风问题,对其“落墨花”的分析得出徐熙画相较西蜀黄筌一路而言极重笔法和墨法,且其画具有极强的“笔墨品格”。第四节分析历代画家对“笔墨”之有无的论述,再次印证五代时期,完成了笔墨品格中最为重要的生发之义,渐而说明五代人对于“唐画山水,至宋始备”进程中所作出的特殊贡献。
The painting of South Tang Dynasty takes a considerable place in the history of Chinese painting. The South Tang Dynasty includes the three empires of Li Sheng, Li Jing and Li yu, and lasts for 39 years. Because of the political origin of Li Tang, most of its political systems follow the patterns of Tang Dynasty. This period has given birth to many famous painters, such as Xu Xi, Dong Yuan, Ju Ran, Wei Xian, Gu Hongzhong, Zhou Wenju, and Cao Zhongxian. In Chinese landscape painting, the painters in the South Tang Dynasty mostly inherited the tradition of Tang Dynasty, represented by Wu Daozi and Wang Wei. Hence they influence the latter painting style drastically. Mi Fu has mentioned about the concept of“paintings of South of the River”for many times in his work History of Painting. This thesis aims to explore the cause to form the paintings of South of the River in North Tang Dynasty and its significance in inheriting the tradition of Tang Dynasty and opening the style of Song Dynasty.
Four parts are divided and the details are exposed as follows:Chapter One: the ideology of South Tang Dynasty and the background to form the“Painting of the South River”.The first part generalizes the historical events that Li Sheng’s establishment of the South Tang Dynasty, and his identity as the descendent of Tang Dynasty, inheriting Tang Dynasty’s system and collecting widely the books of the previous dynasties. Both the next empires Li Jing and Li Yu had a high taste in aesthetics, leading to a prosperity in painting and literature.The second part further offers a generalization about the geographical features of South Tang Dynasty, trying to get a comprehension towards the true works of the landscape paintings in the South Tang Dynasty and list the scenic spots in South Tang Dynasty areas.The 3rd part illustrates the long painting history since the Six Dynasties in the Wu Area, especially the creative spirit to practice earliest and most perfectly the“Six Principles”in figure paintings.
Chapter Two: The“Paintings of South River”during the South Tang Dynasty originated the consciousness as the literati to paint. The 1st part generalizes the cultural environment of the South Tang Dynasty, thus leading to the conclusion that the“Paintings of South River”during the South Tang Dynasty originated the consciousness as the literati to paint. It may reveal itself in the literature characters in the purposes and the forms, especially during the Li Yu period, when the blend of poetry and painting got its momentum.The 2nd part sets Wei Xian as an example to illustrate that under the cultural environment of the South Tang Dynasty and the impact of Li Yu,“Jie painting”made a great breakthrough, and it made Wei’s paintings as the highest level in Chinese cottage and tree painting.
Chapter Three: The painting aesthetics of“peace and innocence”established by the“Paintings of South of River”.The 1st part generalizes Dong Yuan’s position change in the articles by Song people, through which we can find that Mi Fu plays an important influence to Dong’s rediscovery. The second part generalizes the“South School & North School”theory by painters in Ming and Qing Dynasty. As a result, we can see how Dong Yuan is elected as the creator of the South school, and the characteristics owned by“Paintings of South River”The third part discusses that Dong Yuan inherited the way to paint in the Tang Dynasty by Zhang Zao and Wang Wei, especially in his painting Waiting for Boat around the Mountain in Summer. Dong’s way to paint the stones was transferred from his imagination of the way to paint the water, linking internally to Gu Kaizi.
The forth part compares Dong’s painting Bank of the Stream with Ju Ran’s Resting in the Mountains. From the similarities, we then talk about the question that how Dong described the real mountains.The fifth part tries to learn clearly that to what extent that Ju Ran inherited Dong’s spirit and techniques of painting, as well as Ju’s breakthrough. Dong and Ju’s influence in the history of painting relies mostly on Ju’s“Smog Landscape”.
Chapter Four: South Tang’s“Paintings of South River”established the character of painting and calligraphy that centred with stokes and ink.The first part talks about the importance held by the public towards the calligraphy in South Tang Dynasty. Li Yu was excellent in poetry, painting and calligraphy, leading the style of South Tang Dynasty. Besides, the great value of the tools to paint is also included so as to speak together with the previous two facets the centre of Li Yu, who set up the characters of the strokes and ink in“Painting of South River”. This character emphasizes a lot on“elegance, mild, graceful, peaceful”, and the blend with calligraphy. Especially to Tang Xiya and Zhou Wenju, Li Yu influenced greatly.The 2nd part generalizes the life of Xu Xi, who was the descendent of the empire of South Tang.The 3rd part generalizes the style of Xu Xi. By analyzing his“ink flowers”, Xu’s paintings focus more on strokes and ink compared to Huang Quan, and own his special taste.The 4th part analyzes the statements towards strokes and ink by painters from each period. Thus we can confirm again that during the Five Periods, the taste of strokes and ink is stimulated and the painters of this time made a great contribution to the completion of landscape painting.
第一部分南唐政权的意识形态及其江南画的形成背景:第一节略述李昪建立南唐后,以唐朝苗裔自居,充分继承唐代制度,并广泛收集前代图籍。烈主李璟,后主李煜两朝更是文风鼎盛,加之自身文艺素养极高,引导了南唐绘画之繁荣。第二节进一步了解南唐的地理特征,试图对南唐真山水之品有初步认识,查列南唐地域中的各地名胜。第三节阐述吴地画家自六朝以来就有悠久的绘画传统。特别是在人物画上最早也最完美地实践着“六法”的创作精神。
第二部分南唐江南画肇始了士大夫绘画的文学性自觉:第一节略述南唐的文化氛围,得出南唐江南画肇始了士大夫绘画的文学性自觉,这表现在江南画无论在立意,体裁上都具有文学化品格,特别在李煜时期,诗画的相融有一定的进展。第二节以卫贤为个案说明在南唐文化氛围及李后主的影响下,界画有了极大的突破,致使卫贤绘画成为不可多得的屋木门神品。
第三部分江南画确立了以“平淡天真”为宗的绘画审美:第一节略述董源在宋人画论中的地位变迁,从中看出米芾对董源的发现具有极为重要的影响。第二节略述明清画家的南北宗论,从中说明董源是如何被追奉为南宗祖师,并以此反观南唐江南画所具有的特质。第三节从《夏景山口待渡图》试论董源墨法上师承了张璪、王维开导的唐法,其皴法自水法的迁想妙得中来,并与顾恺之有内在的渊源。第四节比较董源的《溪岸图》和巨然的《山居图》,从两图的相似性,试谈董源写江南真山问题。第五节试图理清巨然在多大程度上继承了董源绘画的精神及其技法,同时还做了何样的突破。董巨在绘画史上的影响,巨然“烟岚景”起着重要贡献。
第四部分南唐江南画建立了以笔墨为核心的书画品格:南唐对书法的普遍重视,李煜自身诗书画三绝,全面引导南唐画风,以及南唐对文房用具的考究三方面说明以李煜为中心的南唐建立了江南画的笔墨品格,在绘画上强调“美韵,温秀,俊迈,蕴藉,格清”之品,主张书法与绘画的互济,特别是李煜“金错刀”对唐希雅,周文钜等产生了重要影响。第二节着重略述徐熙的生平问题,其原名应为徐景熙,徐熙应为南唐皇室的亲属,其地位介于贵胄与隐士之间。第三节略述徐熙的画风问题,对其“落墨花”的分析得出徐熙画相较西蜀黄筌一路而言极重笔法和墨法,且其画具有极强的“笔墨品格”。第四节分析历代画家对“笔墨”之有无的论述,再次印证五代时期,完成了笔墨品格中最为重要的生发之义,渐而说明五代人对于“唐画山水,至宋始备”进程中所作出的特殊贡献。
The painting of South Tang Dynasty takes a considerable place in the history of Chinese painting. The South Tang Dynasty includes the three empires of Li Sheng, Li Jing and Li yu, and lasts for 39 years. Because of the political origin of Li Tang, most of its political systems follow the patterns of Tang Dynasty. This period has given birth to many famous painters, such as Xu Xi, Dong Yuan, Ju Ran, Wei Xian, Gu Hongzhong, Zhou Wenju, and Cao Zhongxian. In Chinese landscape painting, the painters in the South Tang Dynasty mostly inherited the tradition of Tang Dynasty, represented by Wu Daozi and Wang Wei. Hence they influence the latter painting style drastically. Mi Fu has mentioned about the concept of“paintings of South of the River”for many times in his work History of Painting. This thesis aims to explore the cause to form the paintings of South of the River in North Tang Dynasty and its significance in inheriting the tradition of Tang Dynasty and opening the style of Song Dynasty.
Four parts are divided and the details are exposed as follows:Chapter One: the ideology of South Tang Dynasty and the background to form the“Painting of the South River”.The first part generalizes the historical events that Li Sheng’s establishment of the South Tang Dynasty, and his identity as the descendent of Tang Dynasty, inheriting Tang Dynasty’s system and collecting widely the books of the previous dynasties. Both the next empires Li Jing and Li Yu had a high taste in aesthetics, leading to a prosperity in painting and literature.The second part further offers a generalization about the geographical features of South Tang Dynasty, trying to get a comprehension towards the true works of the landscape paintings in the South Tang Dynasty and list the scenic spots in South Tang Dynasty areas.The 3rd part illustrates the long painting history since the Six Dynasties in the Wu Area, especially the creative spirit to practice earliest and most perfectly the“Six Principles”in figure paintings.
Chapter Two: The“Paintings of South River”during the South Tang Dynasty originated the consciousness as the literati to paint. The 1st part generalizes the cultural environment of the South Tang Dynasty, thus leading to the conclusion that the“Paintings of South River”during the South Tang Dynasty originated the consciousness as the literati to paint. It may reveal itself in the literature characters in the purposes and the forms, especially during the Li Yu period, when the blend of poetry and painting got its momentum.The 2nd part sets Wei Xian as an example to illustrate that under the cultural environment of the South Tang Dynasty and the impact of Li Yu,“Jie painting”made a great breakthrough, and it made Wei’s paintings as the highest level in Chinese cottage and tree painting.
Chapter Three: The painting aesthetics of“peace and innocence”established by the“Paintings of South of River”.The 1st part generalizes Dong Yuan’s position change in the articles by Song people, through which we can find that Mi Fu plays an important influence to Dong’s rediscovery. The second part generalizes the“South School & North School”theory by painters in Ming and Qing Dynasty. As a result, we can see how Dong Yuan is elected as the creator of the South school, and the characteristics owned by“Paintings of South River”The third part discusses that Dong Yuan inherited the way to paint in the Tang Dynasty by Zhang Zao and Wang Wei, especially in his painting Waiting for Boat around the Mountain in Summer. Dong’s way to paint the stones was transferred from his imagination of the way to paint the water, linking internally to Gu Kaizi.
The forth part compares Dong’s painting Bank of the Stream with Ju Ran’s Resting in the Mountains. From the similarities, we then talk about the question that how Dong described the real mountains.The fifth part tries to learn clearly that to what extent that Ju Ran inherited Dong’s spirit and techniques of painting, as well as Ju’s breakthrough. Dong and Ju’s influence in the history of painting relies mostly on Ju’s“Smog Landscape”.
Chapter Four: South Tang’s“Paintings of South River”established the character of painting and calligraphy that centred with stokes and ink.The first part talks about the importance held by the public towards the calligraphy in South Tang Dynasty. Li Yu was excellent in poetry, painting and calligraphy, leading the style of South Tang Dynasty. Besides, the great value of the tools to paint is also included so as to speak together with the previous two facets the centre of Li Yu, who set up the characters of the strokes and ink in“Painting of South River”. This character emphasizes a lot on“elegance, mild, graceful, peaceful”, and the blend with calligraphy. Especially to Tang Xiya and Zhou Wenju, Li Yu influenced greatly.The 2nd part generalizes the life of Xu Xi, who was the descendent of the empire of South Tang.The 3rd part generalizes the style of Xu Xi. By analyzing his“ink flowers”, Xu’s paintings focus more on strokes and ink compared to Huang Quan, and own his special taste.The 4th part analyzes the statements towards strokes and ink by painters from each period. Thus we can confirm again that during the Five Periods, the taste of strokes and ink is stimulated and the painters of this time made a great contribution to the completion of landscape painting.
引文
1宋欧阳修《新五代史》卷六十二776
2赵彦国注评《黄伯思·东观余论》江苏美术出版社,2009年2月第一版,第276页》
3该论文所引米芾《画史》部分,均参照日本古原宏伸《画史集注》,该书载于台湾大学美术史研究集刊。2002.3.12期,2002.9.13期
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6《欧阳文忠全集》卷五九
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21四库全书,史部,陆游《南唐书》卷二,400页
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24四库全书,史部,陈彭年《江南别录》,127页
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28张彦远《历代名画记》
29谢赫《古画品录》
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33《江南野史》史部四库全书
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35马令《南唐书》卷二十一84页
36宋郑文宝《江表志》史部四库全书
37王国维《人间词话》徐调孚校注中华书局2009
38转引自夏承焘《唐宋词人年谱》80页上海古籍出版社1979年
39转引自《中国古代画论类编》俞剑华编著46页人民美术出版社2004年
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47余绍宋《书画书录解题》卷三,291页北京图书馆出版社2003
48董其昌《画旨》,转引自王伯敏、任道斌主编的《画史集成》,2002.6.第一版,218页
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66郭若虚《图画见闻志》,转引自王伯敏,任道斌主编《画学集成》河北美术出版社,2002,352页
67《宣和画谱》卷十二,转引自王伯敏,任道斌主编《画学集成》河北美术出版社,2002,531页
68清恽寿平《南田画跋》,毛建波校注,西泠印社出版社,2008,74页
69同上,82页
72宋陆游《南唐书》卷八《钦定四库全书》478页
73宋黄伯思《东观余论》赵国彦评2009.2第一版江苏美术出版社248页
77《宣和画谱》,转引自王伯敏、任道斌主编《画史集成六朝-元》,2002.6.第一版,487页
78《宣和画谱》,转引自王伯敏、任道斌主编《画史集成六朝-元》,2002.6.第一版,577页
79张彦远《历代名画记》,转引自王伯敏、任道斌主编《画史集成六朝-元》,2002.6.第一版,169页
80《宣和画谱》,转引自王伯敏、任道斌主编《画史集成六朝-元》,2002.6.第一版,487页
81宋无名氏,《砚谱》91页
83刘道醇《圣朝名画评》,转引自王伯敏、任道斌主编《画史集成》,2002.6.第一版
84郭若虚《图画见闻志》,转引自王伯敏、任道斌主编《画史集成》,2002.6.第一版
85《宣和画谱》,转引自王伯敏、任道斌主编《画史集成》,2002.6.第一版,214页
86四库全书,史部,陈彭年《江南别录》,123页。
88四库全书,史部,马令《南唐书》卷十299页
89郭若虚《图画见闻志》卷六,转引自王伯敏、任道斌主编《画史集成》,2002.6.第一版,385页
92郭若虚《图画见闻志》卷六,转引自王伯敏、任道斌主编《画学集成》,2002.6.第一版,380页
93郭若虚《图画见闻志》卷六,转引自王伯敏、任道斌主编《画学集成》,2002.6.第一版,326页
94《宣和画谱》,转引自王伯敏、任道斌主编《画学集成》,2002.6.第一版,511页
95韩拙《山水纯画集》,转引自王伯敏、任道斌主编《画学集成》,2002.6.第一版,615页
96荆浩《笔法记》,转引自王伯敏、任道斌主编《画学集成》,2002.6.第一版,192页
97如上,193页
98石涛《苦瓜和尚画语录》,转引自王伯敏、任道斌主编《画学集成明清》,2002.6.第一版,301页
99王槩《学画浅说》，转引自王伯敏、任道斌主编《画学集成明清》,2002.6.第一版,352页
100《宣和画谱》,转引自王伯敏、任道斌主编《画学集成六朝-元》,2002.6.第一版,509页
1《旧五代史·新辑会证》,陈尚君辑纂,复旦大学出版社
2《新五代史》宋·欧阳修撰宋·徐无党注,中华书局1974.12(2007.12重印)
3《五代会要》,宋·王溥撰,上海古籍出版社2006年12月第一版
4《南唐近事》,宋郑文宝,四库全书本
5《江表志》,宋郑文宝,四库全书本
6《钓矶立谈》,宋佚名,四库全书本
7《江南别录》,宋陈彭年,四库全书本
8《江南余载》,宋佚名,四库全书本
9《江南野史》,宋龙衮,四库全书本
10《南唐书》,宋马令,四库全书本
11《南唐书》,宋陆游,四库全书本
12《梦溪笔谈》,宋·沈括撰,刘向荣校点,沈阳:辽宁教育出版社,1997.3
13《东坡题跋》,苏轼原著,许伟东注释,人民美术出版社,2008.1
14《黄伯思·东观余论》,赵彦国评注,凤凰出版传媒集团江苏美术出版社,2009年2月
15《墨缘彙观》清·安岐著,郑炳纯校,岭南美术出版社,1994年11月第一版
16《式古堂书画彙考》清卞永誉撰、历鹗辑,上海古籍出版社,1991.8
17《石渠寳笈》,一、二、清·张照梁诗正等撰,19900
18《画山水序》,刘宋宗炳
19《画品》,南齐谢赫
20《续画品》,陈姚最
21《贞观公私画史》,唐裴孝源
22《续画品录》,唐李嗣真
23《山水论》,唐王维
24《辋川画决》,唐王维
25《唐朝名画录》,唐朱景玄
26《历代名画记》,唐张彦远
27《笔法记》,五代荆浩
28《画山水赋》,五代荆浩
29《益州名画录》,宋黄休复
30《图画见闻志》,宋·郭若虚著,俞剑华注释,凤凰出版传媒集团江苏美术出版社,20
31《宋朝名画评》,宋刘道醇
32《画史》,宋米芾,
33《宣和画谱》,宋
34《林泉高致》,宋郭熙、郭思
35《德隅斋画品》,宋李廌
36《山水纯全集》,宋韩拙
37《画续十卷》,宋邓椿
38《书画传习录》,明王绂
39《画旨》,明董其昌
40《绘事微言》明唐志契
41《画尘》,明沈颢
42《苦瓜和尚画语录》,清石涛
43《南田画跋》,毛建波、江吟主编,西泠印社出版社,2008年1月第一版
44《雨窗漫笔》,清王原祁
45《绘事发微》,清唐岱
46《山静居画论》,清方熏
47《芥舟学画编》,清沈宗骞
48《南宗抉秘》,清华琳
49《春觉斋论画》,清林纾
50《唐宋词人年谱》,夏承焘著,上海古籍出版社1979年版
51《四库提要辩证》余嘉锡著,云南人民出版社,2006第二次印
52《国史大纲》上下册,钱穆著,商务印书馆出版2007年3月第十次印刷
53《书画书录解题》,余绍宋编撰,北京图书馆出版社,2003年3月第一版
54《画学集成》,王伯敏,任道斌主编,河北美术出版社2006年6月第一版
55《中国古代画论类编》俞剑华编著人民美术出版社2004
56《宋辽金画家史料》,陈高华,文物出版社1984年版
57《中国画学全史》,郑午昌著,凤凰出版传媒集团江苏美术出版社,2008年4月第一版
58《中国美术史》,郑昶编,台湾中华书局印行,1979年2月一四版
59《中国绘画史》,潘天寿,团结出版社,2006年1月第一版
60《中国绘画史》,俞剑华,东南大学出版社,2009年4月第一版
61《中国绘画变迁史纲》傅抱石,上海古籍出版社,1998年12月第一版
62《中国绘画通史》王伯敏,文化艺术出版社,2009年5月第一版
63《中国绘画史》(日)内藤湖南,中华书局,2008年7月第一版
64《中国绘画断代史·宋代绘画》徐书城著,人民美术出版社
65《童书业绘画史论集》上、下,童书业著,童教英整理,中华书局,2008.2
66《中国古代书画研究十论》,谢稚柳著,复旦大学出版社,2004年8月第一版
67《书画心赏录》,徐建融著,徐杰编,学林出版社,2002年2月第一版
68《解读·溪岸图》·董源研究,上海书画出版社编,上海书画出版社,2003.10
69《历代名画记·研究》,上海书画出版社编,上海书画出版社,2007.
70《老子演义》止庵著,中华书局,2007.3
71《中国艺术精神》徐复观著,华东师范大学出版社,2005年12月第五次
72《人间词话》,王国维著,徐调孚校注,中华书局,2009年9月再版
73《中国古代绘画技法、材料、工具史纲》,赵权利著,广西美术出版社2007年10月第二次印刷
74《李后主和他的时代》,陈葆真著,石头出版社,2009年4月再版年8月第一版
75《南唐文化》,邹劲风著,南京出版社,2006年10月第二次印刷
76《南唐二陵史话》,周维林、夏仁琴著,南京出版社2009年6月第一版
77《中国历史·五代史》,陶懋炳张其凡曾育荣著,人民出版社2009年3月第一版。
78《新五代史·研究》,张华明著,中国社会科学出版社,2007.10
79《南方山水画派》,黄廷海著,2003年1月第一版
80《吴地绘画》,戴云亮、李涵著,古吴轩出版社,2008年10月第一版
81《徐熙画派》孔六庆著吉林美术出版社2002.11
82《中华山水名胜旅游文学大观》,上、下册,王志武、祯祥主编,三秦出版社,1998年8月第一版
2赵彦国注评《黄伯思·东观余论》江苏美术出版社,2009年2月第一版,第276页》
3该论文所引米芾《画史》部分,均参照日本古原宏伸《画史集注》,该书载于台湾大学美术史研究集刊。2002.3.12期,2002.9.13期
4欧阳修《新五代史》卷六一,中华书局, 2007,第762页
5欧阳修《新五代史》卷六一,中华书局, 2007,第762页
6《欧阳文忠全集》卷五九
7欧阳修《新五代史》序中华书局, 2007,第2页。
8《资治通鉴》卷282 ,后晋高祖天福四年二月第9198—9199页《欧阳文忠全集》卷五九
9钱穆(1895-1990)《国史大纲》商务印书馆, 2007,第502页。
10见夏承焘,《南唐二主年谱》78页引周在浚,《南唐书注》卷16,10页。
11四库全书,史部,马令《南唐书》23卷,91页朱弼传
12四库全书,史部,陈彭年961-1017《江南别录》,128页。
13见邵博,《闻见后录》,卷27,页348;又见夏承焘,《南唐二主年谱》,页9-10
14俞剑华(1895-1979)《中国绘画史》
15潘天寿(1897-1971)《中国绘画史》
16欧阳修《新五代史》卷六十二,中华书局,2007,765页
17四库全书,史部,《钓矶立谈》,48页
18四库全书,史部,《钓矶立谈》
19四库全书,史部,陆游《南唐书》列传6陈觉传,42页
20转引自陈葆真《李后主和他的时代》,36页,引南唐刘崇远《金华子杂编》卷上
21四库全书,史部,陆游《南唐书》卷二,400页
22欧阳修《新五代史》卷六十二,中华书局,2007,777页
23欧阳修《新五代史》卷六十二,中华书局,2007,777页
24四库全书,史部,陈彭年《江南别录》,127页
25王国维《人间词话》,徐调孚校注,中华书局,2009,8页
26王志武、祯祥主编《中华山水名胜》,三秦出版社,108页
27王志武、祯祥主编《中华山水名胜》,三秦出版社,108页
28张彦远《历代名画记》
29谢赫《古画品录》
30姚最《续画品录》以上皆引自王伯敏、任道斌主编《画学集成》河北美术出版社2002 (画论未说明引处的均引自此书)
33《江南野史》史部四库全书
34《钓矶立谈》史部四库全书
35马令《南唐书》卷二十一84页
36宋郑文宝《江表志》史部四库全书
37王国维《人间词话》徐调孚校注中华书局2009
38转引自夏承焘《唐宋词人年谱》80页上海古籍出版社1979年
39转引自《中国古代画论类编》俞剑华编著46页人民美术出版社2004年
40《图画见闻志》卷第二唐末二十七人,尹继昭,“工画人物台阁,世推绝格。有移新丰、阿房宫、吴宫等图传于世。”转引自王伯敏、任道斌主编的《画史集成》,2002.6.第一版,326页
41《宣和画谱》卷八,转引自王伯敏,任道斌主编《画学集成六朝-元》河北美术出版社,2002,496页
42《图画见闻志》卷转引自王伯敏、任道斌主编的《画史集成》,2002.6.第一版
43《宣和画谱》转引自王伯敏、任道斌主编的《画史集成》,2002.6.第一版,页
46转引自台湾大学《美术史研究集刊》第十二期,所载的古原宏伸的《画史》集注(二),第31条
47余绍宋《书画书录解题》卷三,291页北京图书馆出版社2003
48董其昌《画旨》,转引自王伯敏、任道斌主编的《画史集成》,2002.6.第一版,218页
55明沈颢《画尘》,转引自王伯敏、任道斌主编的《画史集成》,2002.6.第一版,279页
56郓寿平,《南田画跋》,西泠印社出版社,2008
57清唐岱《绘事发微》,转引自王伯敏、任道斌主编的《画史集成》,2002.6.第一版
58清唐岱《绘事发微》,转引自王伯敏、任道斌主编的《画史集成》,2002.6.第一版
59清沈宗骞《芥舟学画编》,转引自王伯敏、任道斌主编的《画史集成》,2002.6.第一版,567页
60见王原祁《麓台题画稿》转引自王伯敏、任道斌主编《画史集成》,2002.6.第一版
64《宣和画谱》,转引自王伯敏、任道斌主编的《画史集成》,2002.6.第一版,112页
65宋刘道醇《宋朝名画评》卷二,山水林木门第二,转引自王伯敏,任道斌主编《画学集成六朝-元》河北美术出版社,2002,262页
66郭若虚《图画见闻志》,转引自王伯敏,任道斌主编《画学集成》河北美术出版社,2002,352页
67《宣和画谱》卷十二,转引自王伯敏,任道斌主编《画学集成》河北美术出版社,2002,531页
68清恽寿平《南田画跋》,毛建波校注,西泠印社出版社,2008,74页
69同上,82页
72宋陆游《南唐书》卷八《钦定四库全书》478页
73宋黄伯思《东观余论》赵国彦评2009.2第一版江苏美术出版社248页
77《宣和画谱》,转引自王伯敏、任道斌主编《画史集成六朝-元》,2002.6.第一版,487页
78《宣和画谱》,转引自王伯敏、任道斌主编《画史集成六朝-元》,2002.6.第一版,577页
79张彦远《历代名画记》,转引自王伯敏、任道斌主编《画史集成六朝-元》,2002.6.第一版,169页
80《宣和画谱》,转引自王伯敏、任道斌主编《画史集成六朝-元》,2002.6.第一版,487页
81宋无名氏,《砚谱》91页
83刘道醇《圣朝名画评》,转引自王伯敏、任道斌主编《画史集成》,2002.6.第一版
84郭若虚《图画见闻志》,转引自王伯敏、任道斌主编《画史集成》,2002.6.第一版
85《宣和画谱》,转引自王伯敏、任道斌主编《画史集成》,2002.6.第一版,214页
86四库全书,史部,陈彭年《江南别录》,123页。
88四库全书,史部,马令《南唐书》卷十299页
89郭若虚《图画见闻志》卷六,转引自王伯敏、任道斌主编《画史集成》,2002.6.第一版,385页
92郭若虚《图画见闻志》卷六,转引自王伯敏、任道斌主编《画学集成》,2002.6.第一版,380页
93郭若虚《图画见闻志》卷六,转引自王伯敏、任道斌主编《画学集成》,2002.6.第一版,326页
94《宣和画谱》,转引自王伯敏、任道斌主编《画学集成》,2002.6.第一版,511页
95韩拙《山水纯画集》,转引自王伯敏、任道斌主编《画学集成》,2002.6.第一版,615页
96荆浩《笔法记》,转引自王伯敏、任道斌主编《画学集成》,2002.6.第一版,192页
97如上,193页
98石涛《苦瓜和尚画语录》,转引自王伯敏、任道斌主编《画学集成明清》,2002.6.第一版,301页
99王槩《学画浅说》，转引自王伯敏、任道斌主编《画学集成明清》,2002.6.第一版,352页
100《宣和画谱》,转引自王伯敏、任道斌主编《画学集成六朝-元》,2002.6.第一版,509页
1《旧五代史·新辑会证》,陈尚君辑纂,复旦大学出版社
2《新五代史》宋·欧阳修撰宋·徐无党注,中华书局1974.12(2007.12重印)
3《五代会要》,宋·王溥撰,上海古籍出版社2006年12月第一版
4《南唐近事》,宋郑文宝,四库全书本
5《江表志》,宋郑文宝,四库全书本
6《钓矶立谈》,宋佚名,四库全书本
7《江南别录》,宋陈彭年,四库全书本
8《江南余载》,宋佚名,四库全书本
9《江南野史》,宋龙衮,四库全书本
10《南唐书》,宋马令,四库全书本
11《南唐书》,宋陆游,四库全书本
12《梦溪笔谈》,宋·沈括撰,刘向荣校点,沈阳:辽宁教育出版社,1997.3
13《东坡题跋》,苏轼原著,许伟东注释,人民美术出版社,2008.1
14《黄伯思·东观余论》,赵彦国评注,凤凰出版传媒集团江苏美术出版社,2009年2月
15《墨缘彙观》清·安岐著,郑炳纯校,岭南美术出版社,1994年11月第一版
16《式古堂书画彙考》清卞永誉撰、历鹗辑,上海古籍出版社,1991.8
17《石渠寳笈》,一、二、清·张照梁诗正等撰,19900
18《画山水序》,刘宋宗炳
19《画品》,南齐谢赫
20《续画品》,陈姚最
21《贞观公私画史》,唐裴孝源
22《续画品录》,唐李嗣真
23《山水论》,唐王维
24《辋川画决》,唐王维
25《唐朝名画录》,唐朱景玄
26《历代名画记》,唐张彦远
27《笔法记》,五代荆浩
28《画山水赋》,五代荆浩
29《益州名画录》,宋黄休复
30《图画见闻志》,宋·郭若虚著,俞剑华注释,凤凰出版传媒集团江苏美术出版社,20
31《宋朝名画评》,宋刘道醇
32《画史》,宋米芾,
33《宣和画谱》,宋
34《林泉高致》,宋郭熙、郭思
35《德隅斋画品》,宋李廌
36《山水纯全集》,宋韩拙
37《画续十卷》,宋邓椿
38《书画传习录》,明王绂
39《画旨》,明董其昌
40《绘事微言》明唐志契
41《画尘》,明沈颢
42《苦瓜和尚画语录》,清石涛
43《南田画跋》,毛建波、江吟主编,西泠印社出版社,2008年1月第一版
44《雨窗漫笔》,清王原祁
45《绘事发微》,清唐岱
46《山静居画论》,清方熏
47《芥舟学画编》,清沈宗骞
48《南宗抉秘》,清华琳
49《春觉斋论画》,清林纾
50《唐宋词人年谱》,夏承焘著,上海古籍出版社1979年版
51《四库提要辩证》余嘉锡著,云南人民出版社,2006第二次印
52《国史大纲》上下册,钱穆著,商务印书馆出版2007年3月第十次印刷
53《书画书录解题》,余绍宋编撰,北京图书馆出版社,2003年3月第一版
54《画学集成》,王伯敏,任道斌主编,河北美术出版社2006年6月第一版
55《中国古代画论类编》俞剑华编著人民美术出版社2004
56《宋辽金画家史料》,陈高华,文物出版社1984年版
57《中国画学全史》,郑午昌著,凤凰出版传媒集团江苏美术出版社,2008年4月第一版
58《中国美术史》,郑昶编,台湾中华书局印行,1979年2月一四版
59《中国绘画史》,潘天寿,团结出版社,2006年1月第一版
60《中国绘画史》,俞剑华,东南大学出版社,2009年4月第一版
61《中国绘画变迁史纲》傅抱石,上海古籍出版社,1998年12月第一版
62《中国绘画通史》王伯敏,文化艺术出版社,2009年5月第一版
63《中国绘画史》(日)内藤湖南,中华书局,2008年7月第一版
64《中国绘画断代史·宋代绘画》徐书城著,人民美术出版社
65《童书业绘画史论集》上、下,童书业著,童教英整理,中华书局,2008.2
66《中国古代书画研究十论》,谢稚柳著,复旦大学出版社,2004年8月第一版
67《书画心赏录》,徐建融著,徐杰编,学林出版社,2002年2月第一版
68《解读·溪岸图》·董源研究,上海书画出版社编,上海书画出版社,2003.10
69《历代名画记·研究》,上海书画出版社编,上海书画出版社,2007.
70《老子演义》止庵著,中华书局,2007.3
71《中国艺术精神》徐复观著,华东师范大学出版社,2005年12月第五次
72《人间词话》,王国维著,徐调孚校注,中华书局,2009年9月再版
73《中国古代绘画技法、材料、工具史纲》,赵权利著,广西美术出版社2007年10月第二次印刷
74《李后主和他的时代》,陈葆真著,石头出版社,2009年4月再版年8月第一版
75《南唐文化》,邹劲风著,南京出版社,2006年10月第二次印刷
76《南唐二陵史话》,周维林、夏仁琴著,南京出版社2009年6月第一版
77《中国历史·五代史》,陶懋炳张其凡曾育荣著,人民出版社2009年3月第一版。
78《新五代史·研究》,张华明著,中国社会科学出版社,2007.10
79《南方山水画派》,黄廷海著,2003年1月第一版
80《吴地绘画》,戴云亮、李涵著,古吴轩出版社,2008年10月第一版
81《徐熙画派》孔六庆著吉林美术出版社2002.11
82《中华山水名胜旅游文学大观》,上、下册,王志武、祯祥主编,三秦出版社,1998年8月第一版