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題名 | 晚明畫論、畫史中所見的浙派=The Aesthetic Criticism on Zhe School in 16th Century |
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作者 | 程君顒; Cheng, Jun-yung; |
期刊 | 輔仁歷史學報 |
出版日期 | 20000600 |
卷期 | 11 2000.06[民89.06] |
頁次 | 頁97-132 |
分類號 | 944.96 |
語文 | chi |
關鍵詞 | 浙派; 習氣惡派; 吳門畫派; 明末; Zhe school; Evil school; Wu-mun school; Late ming; |
中文摘要 | 明代文人介紹當代當家時,嘉靖以前並沒有出現所謂派別之說,而且即使評論家面對部份不喜愛的作品,他們雖然會加以嚴厲的批判,但還不致於形成毀謗性的言論。了萬曆年間,這個情況出現了相當大的轉變,評論繪畫風格的文字對於來自閩浙的畫家,以及盛行於閩浙地區的繪畫風格,採取極力詆毀的態度,由抨擊閩浙的畫風為「習氣惡派」,以邪惡目之,日後更冠上「浙派」的名義,並認為這一畫派風格勢將如禪宗北派一樣,日薄西山,衣缽塵土。有所要探討的,即是晚明對浙派平價的轉變,及浙派本的發展。 |
英文摘要 | Before 16th century, the introduction on the painting style of painters in many different places, there were not given a name like “school” or “party”, and although there were some popular styles with the art market, there still didn’t get a predominant form in the wave of part performance. But just on the period of late Ming, the critics were getting more and more intolerance about the painting style of the painters from the Zheijian (浙江) and Fukian(福建). They named the style as an “evil” school, and if the gentry or literati painters followed with the style, the critical writers predicted that they would be evil just like their paintings. On the other hand, the literati, or scholar painters, tried to find out the painting style, which could show the way that they could show the way that could follow with , and except made themselves relax, the “righteous” school could also help the literati study the way of “Tao”(道). This paper is focused on the transition of criticism on the “evil school”---the school of Min-Zhe(閩浙). |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。