作　　者： ;

机构地区： 广州美术学院

出　　处： 《文艺研究》 2005年第2期 92-101,共10页

摘　　要： 本文讨论了"董源"概念的历史生成的主要过程,通过已有的历史文本的条件、品评标准的地域转变、董其昌与"董源"的特殊际遇与趣味和画史主线的确立过程等四个环节展开了全新的学术讨论.作者观照的重点是中国山水画的知识概念被主流化的过程,而明代后期正处在这样的时期.明代后期由所谓"董源"的作品和历史文献所建构的主流知识概念又成为我们现在习惯性叙述古代绘画史的基础. This paper aims to be an academic discussion of the formative process of the concept “Dong Yuan” from the following four aspects: the conditions of the existed historical texts, the regional transformation of evaluation criteria, the special meeting between Dong Qichang and “Dong Yuan,” and the process of establishing the taste and main lines of history of painting. The emphasis is on the process of how the intellectual concept of Chinese landscape had become the mainstream. The latter part of Ming Dynasty was exactly such a period whose mainstream intellectual concept was constructed from Dong Yuan’s works and historical documents have customarily become the basis of the present narrative of ancient history of painting.

关 键 词： 画史 中国山水画 古代绘画 品评标准 董其昌 历史生成 主流化 际遇 历史文本 叙述

分 类 号： [J212 J209]

领　　域： [] []