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北宋董逌的《广川画跋》在古人那里获得了很高的评价,然而其在现当代被忽视。其主要原因是其画跋以考据为主,今人读来颇为艰涩难懂。《广川画跋》在征引大量文献和典故的基础上,对所见画作的作者、主题、名称、年代、真伪等提出更正或辩驳,是以“画跋”为依托的一种美术史论著,其论理亦有相当的深度。董逌本着实事求是、秉笔直书的史学态度,对于中国画的精神领袖关于绘画的某些言论,或者秘阁书画鉴藏官员的定论,甚至民间关于绘画的某些传说,都能有理有据地提出批评,无愧于其“书画中董狐”之称谓。董逌及其《广川画跋》的出现,是中国美术史学在宋代走向成熟的又一例证。
Dongguang Northern Song Dynasty “Guangchuan painting postscript” in the ancients who received a high rating, but in modern times it is ignored. The main reason is that its painting postscript mainly based on test data, people are quite difficult to understand today. On the basis of drawing a large amount of literatures and allusions, “Guangchuan Painting Postscript” proposes a correction or rebuttal to the author, subject, name, age, authenticity and so on of the paintings he has seen, and is based on “painting postscript” The history of art, his argument also has a considerable depth. Based on the factuality of history, Dong Tuan holds the historical attitude towards straightforward books and can criticize some of the rhetoric of the Chinese spiritual leaders about painting, or the conclusion of the officials of the secret cabinet paintings and even some folklore about painting, , Worthy of its “Donghu painting and calligraphy ” of the title. The appearance of Dong Kui and his “Guangchuan Painting Postscript” is yet another example of the maturity of Chinese art historiography in Song Dynasty.