唐代翰林院画待诏任用制度考述

发布时间：2018-03-12 13:07

本文选题：宫廷画家　切入点：翰林院　出处：《故宫博物院院刊》2017年04期 　论文类型：期刊论文

【摘要】：唐代翰林院画待诏是皇室不可或缺的一类使职,通常以加领虚衔的方式寓俸禄和秩品位。在玄宗始创翰林院初期,画待诏的任用一度较为混乱,到中唐,通过改革确立了集贤画直到翰林待诏的升迁方式,画待诏由此成为宫廷画家的最高职位,从而显示出层级化和序列化的官制特征。唐朝以后,历代宫廷御用画家的任用制度虽然各有特色,但无不因承唐制。
[Abstract]:In the Tang Dynasty, Hanlin Yuan painting Dizhao is an indispensable duty for the royal family. It usually combines salary and rank by adding a false title. In the early days of Xuanzong's creation of the Imperial Academy, the appointment of painting and waiting for the imperial imperial court was once more chaotic, until the middle Tang Dynasty. Through the reform, it established the way of promotion of the collection of virtuous paintings until Hanlin was waiting for the edict, which became the highest position of court painters, thus showing the official characteristics of hierarchy and serialization. After the Tang Dynasty, Although the appointment system of imperial painters in the past dynasties has its own characteristics, it is due to the system of Tang Dynasty.
【作者单位】：华东师范大学美术学院;
【分类号】：K242

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