| 临鉴意识在唐宋以后山水画史断代研究中的价值刍议 | |
| 陈池瑜 ; 王洪伟 ; CHEN Chi-yu ; WANG Hong-wei | |
| 2016-03-30 ; 2016-03-30 | |
| 关键词 | 临鉴意识 唐宋 笔墨 山水画史 断代 J209.2 |
| 其他题名 | Importance of copied paintings in the chronology studies of Shan Shui paintings after Tang and Song period |
| 中文摘要 | 受西方艺术史研究模式的影响,在中国画史分期结构上有着很重的"再现论"模式,这是将创作主体与自然客体关系作为分期标准的一种选择。事实上,因"统系"观念的存在,唐宋之后山水画史脉络中衍生出的"临鉴"意识和行为,不仅在主观上构成了画史结构和画人序列的层累特征,同时随着风格的传承递进,以笔墨为核心的临鉴谱系也渐趋完整。临鉴意识缘起于唐宋,定型于晚明,终结于民国。将唐宋以后不同时段画家的"临鉴"诉求作为画史分期的一种选择,可能会更好地理解山水画史发展中文人身份与审美趣味内涵之间的必然联系。再现论分期以作品创作的主客映现关系为基础,临鉴意识以画家主体自觉性溯源心理为依托。; As an example of the influence of western research paradigm in China,the representation theory of art is prevalent in Chinese researchers.They consider the relationship between the subjects and the objects to be the criterion for determining the time frame of the Chinese painting periods.When it comes to the Shan Shui paintings after Tang and Song period,however,the characteristics of copied paintings in different periods can be an option for the chronology studies and the interpretation of the aesthetic tastes of literary men.This wave of copying originated in the Tang and Song Dynasty,got mature in the late Ming Dynasty and came to end in the period of the Republic of China.While the representation theory of art focuses on the relationship between the subjects and objects,the theory of copying stresses more the psychology of painters. |
| 语种 | 中文 ; 中文 |
| 内容类型 | 期刊论文 |
| 源URL | [http://ir.lib.tsinghua.edu.cn/ir/item.do?handle=123456789/146271]  |
| 专题 | 清华大学 |
| 推荐引用方式 GB/T 7714 | 陈池瑜,王洪伟,CHEN Chi-yu,等. 临鉴意识在唐宋以后山水画史断代研究中的价值刍议[J],2016, 2016. |
| APA | 陈池瑜,王洪伟,CHEN Chi-yu,&WANG Hong-wei.(2016).临鉴意识在唐宋以后山水画史断代研究中的价值刍议.. |
| MLA | 陈池瑜,et al."临鉴意识在唐宋以后山水画史断代研究中的价值刍议".(2016). |
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