摘要
晚明华亭派领袖董其昌著作 ,在中国绘画史上有着极其深远的影响。史家历来把董其昌著作的中心议题——南北宗论功过系于董其昌一身。对《画旨》等书的点校可以发现 ,董其昌的所谓“南北宗论”系抄袭莫是龙的成说 ,区分南、北宗和逸家、作家是明代文人的共识 ,南北宗论的提出是有背景的 ,南画和南北宗论均有得有失。
As the leader of Huating Sect in the late Ming Dynasty,Dong Qichang occupied a very important position in the history of Chinese painting.For generations,historians have contributed the merits and demerits of the theory of northern and southern models to Dong who focused on this topic in his series of works.This paper proposes a new viewpoint from different aspects of the northern and southern models,intending to recover the reality of history.
出处
《东南大学学报(哲学社会科学版)》
北大核心
2003年第1期80-85,共6页
Journal of Southeast University(Philosophy and Social Science)
关键词
莫是龙
《画说》
董其昌
《画旨》
南北宗论
Mo Shilong
Theroy of Painting
Dong Qichang
Purport of Painting
theory of the northern and southern models