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本文以画史之祖——唐张彦远的《历代名画记》为研究对象,应用文献学、家族学的方法,并结合唐代的思想史、文化史背景知识,对《历代名画记》进行综合研究,具体分析了张彦远家族身世对其写作动机的影响、《历代名画记》的体例之渊源、以及张彦远撰写此书时采取的“援书入画”之策略。笔者通过详细的材料分析,指出:(一)张彦远的士族家庭背景对《历代名画记》的成书关系重大,其中最为关键的两点是:传统家学和张彦远的士族身份;(二)《历代名画记》之体例并非直接取法于《史记》,而是受到《隋书·经籍志》的启发,而且,对《历代名画记》之体例形成起决定作用的其实是一本书法著作,即窦暨的《述书赋》;(三)张彦远为提拔绘画之地位,于写作《历代名画记》时,每将绘画与书法相提并论,这是作者有意采取的“援书入画”之策略。张彦远全面援引书学的法则与标准,策略性的、而非历史性的建构起书画的同构关系。
In this paper, the ancestor of the history of painting - Tang Zhang Yanyuan’s “Famous Paintings of Different Dynasties” is taken as the research object. Based on the methods of philology and clan science, combined with the knowledge of the history of the history of the Tang Dynasty and cultural history, Research, analyzed the impact of Zhang Yanyuan’s family life on his writing motivation, the origins of the “Famous Paintings in Various Dynasties” and the strategy of “aid drawing into painting” when Zhang Yanyuan wrote the book. Through detailed material analysis, the author points out: (1) The family background of Zhang Yanyuan’s literary family has a significant relationship with the bookmaking of “Famous Paintings of Various Dynasties”. The two most crucial points are: the identity of the traditional family school and Zhang Yanyuan’s work; (2) The style of Ming Paintings is not directly taken from the Records of the Historian but inspired by the Sui Shu · Jing Zhi Zhi. Moreover, the decisive role of the formation of the Records of Famous Paintings is actually a calligraphy, namely, (3) Zhang Yan-yuan To promote the status of painting, every painting and calligraphy should be compared to the writing of “Famous Paintings of Different Dynasties”, which is the strategy of “aid drawing into painting” that the author intended to adopt. Zhang Yanyuan fully cited the laws and standards of book learning, strategic, rather than the historic construction of the isomorphic relationship between calligraphy and painting.