从戴嵩画牛看中国古代绘画中的误笔

An Argument on the Clerical Errors of Chinese Ancient Paintings in the Case of Dai Song's Bull Picture

戴嵩是唐代著名的画牛大家,与韩干画马并称于世,向有"韩马戴牛"之誉。戴嵩的传世名作《斗牛图》中的"斗牛调(举)尾",学界一直将其视为误笔,但是由一系列的考证可知,这一看法是完全站不住脚的。并且由此我们还可进一步认为戴嵩的画牛之误乃属艺术的自觉,与中国绘画史上的绝大多数误笔一样,是作家天才的创造。把它们视为作家对生活的失察,有违于我国古代艺术创作实际。

As a great painter who was skilled in drawing bulls especially, Dai Song was as famous as Han Gan who was particularly good at drawing horses. Though many scholars regarded it as a clerical error that bullfights held their tails aloft in Dai song＇s valuable painting Bullfights, the author argues that this idea is untenable by a series of researches. From the author＇s point of view, not only Dai Song＇s clerical error drawing bullfights but also most ones of Chinese ancient paintings were all intentional designs which demonstrated their artistic consciousness. It does not conform to the practice of Chinese ancient artistic creations if we regard them as oversights of livelihood.