摘要
王维伪画论、伪石刻的形成于宋、正式入史于明。王维所在盛唐时期,水墨山水画尚未定型,其画风的真实面貌应不出色彩画的范畴。而千余年来,人们对王维画风的误读,反映出文人画话语权力抬升直至神化的轨迹。
The counterfeits of Wang Wei' s treatises about painting and brushworks engraved on stones emerged in Song Dynasty and were recorded into history formally in Ming Dynasty. The water and ink landscape paintings still hadn' t been shaped in the floruit of Tang Dynasty when Wang Wei was in life, and the true feature of Wang Wei' s painting should belong to color paintings, It is the misunderstanding of Wang Wei' s painting style over thousands years that reflects the track on which the cultural hegemony of Chinese scholar paintings was promoted and apotheosized.
出处
《北华大学学报(社会科学版)》
2007年第6期16-21,共6页
Journal of Beihua University(Social Sciences)
关键词
王维
伪画论
伪石刻
文人画
话语权
Wang Wei
Counterfeits of treatises about painting
Counterfeits of brushworks en-graved on stones
Scholar painting
Cultural hegemony