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dc.contributor.author周雨
dc.contributor.authorZhou Yu
dc.date.accessioned2011-05-18T10:47:51Z
dc.date.available2011-05-18T10:47:51Z
dc.date.issued2006
dc.identifier.citation文艺研究,2006(9):116-123,168zh_CN
dc.identifier.issn0257-5876
dc.identifier.urihttps://dspace.xmu.edu.cn/handle/2288/8971
dc.description.abstract学界一般将戾(隶)家与行家视为文人画与非文人画的区别之一。本文基于详尽的史料,指出文人画不能简单地等同为戾家。处于发展初期的文人画,即北宋末年由苏轼等文人士大夫兴起的文人画运动,强调戾家与行家的绝对对立,并体现在身份、人格、素养、方法、画品等一系列的差异中。随着社会境遇变迁和绘画地位提升,戾行对立逐渐向戾行合流发展,戾家与行家呈全面融合之势,这最终促使文人画在“元四家”时期走向完全成熟。优秀的文人画家,不但坚持高妙的情趣,而且完全掌握笔墨的技巧,他们既是真正的文人,亦是真正的画家。【英文摘要】It is generally believed that the difference between Li and Hang is that between literati and non-literati paintings. This paper, based on ample historical materials, tries to argue that we can not simply identify literati painting with the Li Jia painting. At its very beginning, that is, at the end of the Northern Song dynasty, Su Shi and other literati had lunched the movement of literati painting, and from then on, the absolute opposition between Li and Hang has been emphasized in such aspects as identity, personality, cultivation, methods and quality of paintings. With the changes of social enviorment and the elevation of the painting the opposition between the two had gradually turned into integration, perfecting the literatipainting at the time of the "Four Masters" at Yuan dynasty. The literatipainters par excellence are those who not only insist on sub line taste but also have a good mastery of brush skills. They are the true literati and the true painters.zh_CN
dc.language.isozhzh_CN
dc.publisher中国艺术研究院《文艺研究》编辑部zh_CN
dc.subject文人画zh_CN
dc.subject戾家zh_CN
dc.subject行家zh_CN
dc.subject戾行对立zh_CN
dc.subject戾行合流zh_CN
dc.title文人画:戾家抑或行家?——论文人画戾行关系的演变zh_CN
dc.title.alternativeA Historical Survey of the Literati Painting: Li Jia or Hang Jia?zh_CN
dc.typeArticlezh_CN


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