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董源是五代南唐画家,被视为南宗的鼻祖。然而,在五代宋初时他并不受画史重视,但被明代董其昌推为南派正宗,这其中转变,北宋米芾的推崇起到了很关键的作用。本文分三部分,首先分析在董源画史地位的生成中,米芾是最使其地位发生转折的拐点。其次,分别从米芾、董源和后世三个角度分析了米芾对董源评价得以成立的原因,这是文章的主体部分。最后得出结论是:董源之于米芾,是一个\\\"六经注我\\\"的典型案例。米芾将董源地位的合法化的过程,实质上是米芾个人地位合法化的过程。
Dong Yuan is the Five Dynasties Tang painter, was regarded as the originator of Southern Zong. However, he did not pay much attention to the history of painting during the Five Dynasties and early Song Dynasty, but was impelled by Dong Qichang in the Ming Dynasty to be authentic in the South School. This article is divided into three parts, first of all, to analyze the formation of Dong Yuan\'s history of painting history, Mi Yue is the most inflection point turning its position. Secondly, the paper analyzes the reason why Mi-yi\'s evaluation of Dong-yuan can be established from the perspective of Mi-yi, Dong-yuan and later generations. This is the main part of the article. Finally concluded that: Dong Yuan Zhi Mi Mi, is a \\ \"Six Notes I \\\" typical case. The legalization of Miriam\'s Dongyuan status is essentially the legalization of Miriam\'s personal status.