邵弥《云山平远图》及其画史脉络研究

Shao Mi’s The Pingyuan Map of Yunshan and Context Study of his Painting History

本本文研究的中心是明代画家邵弥的《云山平远图》及其画史脉络。首先对作品作了图像分析,发现这件长卷是以类似南宋《潇湘卧游图》等中的卧游山水为结构,但山水展示的方式博采众长,从卷头到卷尾包括了倪瓒、董其昌、吴镇、黄公望、米友仁和赵孟頫风格的变化。第二,通过文献载录的画作题跋和邵弥生平,勾勒出邵弥的师承和交游,他虽出身长州(吴县),但师法以董其昌为中心的松江画派。第三,集中研究《云山平远图》中“云山画法”,通过董其昌对米氏云山的诠释,钩沉出邵弥和其他同时代画家对米氏云山理解的理路。

The research center of this paper is The Pingyuan Map of Yunshan by Shao Mi-a Ming dynasty painter,and its historical context.First of all,only through making image analysis can we find that the scroll is similar to Xiaoxiang Woyou Map painted in the southern song dynasty,which structured by visiting landscape,but shows the landscape in a various way by absorbing many famous painters’styles of Nizan,Dong Qichang,Wu Zhen,Huang Gongwang,Mi Youren and Zhao Mengfu.Secondly,the literature records of Shao Mi and his life reveal his mentorship and visiting.He was born in Changzhou(Wu county),but mastered style of Songjiang Group with Dong Qiqichang as the core.Thirdly,it mainly studies“Yunshan painting style”.Through the Dong Qichang interpretation towards Mishi Yunshan,it shows the thinking of understanding of Mishi Yunshan from Shao Mi and other painters at the same period.