从“概念”到“图像”:沈括的“董源”发现与董其昌的“董源”鉴藏

From"Concept"to"Image":Shen Kuo'sDiscovery of"Dong Yuan"and Dong Qichang'sCollection of Works by"Dong Yuan"

作为"南宗"画祖,董源在五代、北宋初期并没有多大影响。然而从北宋中晚期被沈括首次"发现"后,"董源"的画名越来越大,逐渐成为"南宗"文人画的正统,"董源"经历了一个被不断叠加建构的历史过程。沈括的"董源"以其"印象主义"式笔法特征和"江南真山"平远图式成为明代董其昌"董源"图像鉴藏的主要依据。

As the painting ancestor(huazu)of"Southern School"(Nan Zong)painting,Dong Yuan did not have much influence in the Five Dynasties and the early Northern Song Dynasty.However,since he was first"discovered"by Shen Kuo in the middle and late Northern Song Dynasty,his name"Dong Yuan"had become more and more famous,and gradually he had become the orthodox of"Southern School"literati painting.The name"Dong Yuan"had gone through a historical process that has been repeatedly constructed.Shen Kuo's"Dong Yuan"became the main basis for Dong Qichang's identification and collection of paintingsby"Dong Yuan"in the Ming Dynasty with its"impressionist"style and"Jiangnan real mountain"Pingyuan pattern.