董其昌的南北宗论与明清时期文人画发展的关系

发布时间：2018-08-14 19:08

【摘要】：本文以董其昌的南北宗论与明清时期文人画发展的关系为论题,以南北宗在明和清代文人画产生的影响为线索,阐述了董其昌等人在那个时代构建南北宗论之必然。而发展到清代,南北宗的内容与意义产生了较大的变化,后继者将南北宗之说“再发展”,使之成为攻击他人,成就自己的“武器”。当然是多种原因成就了这一变化(统治阶级的推崇、社会和文化的背景、经济发展的状况、部分所谓文人画家的偏激解读和偷换概念等等)最终将董其昌等人构建起来的画坛新秩序打破,也使得董其昌南北分宗的初衷被异化了。而其中清代正统派和非正统派的两位代表是典型,通过他们于南北宗之说的态度、观点,他们的创作态度,他们的思想、精神为主要内容来论述文人画的发展情况与南北宗的关系。本文以一种辩证的观点看待董其昌等人提出的南北宗分野之论以及他的影响。无论是从当时的权威地位还是对后来所产生的深远影响,南北宗论都是应该被肯定的,他援禅入画,提出分野,给画坛带来了生机,援书入画,解决了笔墨与形象的矛盾。在我看来南北分宗是一种进步,发展了前人分野之说,对当时画坛的发展起到了积极的作用。纵使观点有些许的偏颇或者说是矛盾,也不至于将其全然推翻。通过本文的论述也可以看出董其昌提出南北宗是也并无完全贬低北宗之意,还是相对客观的看待两家技法之所长。在他之后南北宗虽然被后人视为圭臬,经过王原祁为代表的正统画派的“发展”使得董氏等人打造的舟楫最终因不堪重负而倾覆。也是因为偏激的“发展”使得文人画最后没有在南北宗论的影响下走向欣欣向荣,却成就了晚清画坛千人一面,万马齐喑的局面。同出一源的王原祁与石涛最终也因南北宗的“再发展”走向了对立的两个阵营。
[Abstract]:Based on the relationship between Dong Qichang's theory of North-South Buddhism and the development of literati painting in Ming and Qing dynasties, and the influence of literati painting in Ming Dynasty and Qing Dynasty, this paper expounds the necessity of Dong Qichang's theory of North and South Buddhism in that period. In the Qing Dynasty, the content and significance of the North and South sect changed greatly, and the successor made it a weapon to attack others and make it a weapon. There are, of course, a variety of reasons for this change (the esteem of the ruling class, the social and cultural context, the state of economic development, Finally, the new order of Dong Qichang and others was broken, and the original intention of Dong Qichang's south and north secession was dissimilated. Among them, the two representatives of the orthodox and non-orthodox in the Qing Dynasty are typical, through their attitude, viewpoint, creative attitude, their thought in the theory of the North and the South. Spirit as the main content to discuss the development of literati painting and the relationship between North and South schools. In this paper, Dong Qichang and others put forward a dialectical point of view on the separation of North and South schools and his influence. No matter from the position of authority at that time or the far-reaching influence on the later generation, the theory of North and South Buddhism should be affirmed. He helped Zen into painting, put forward a division, brought vitality to the painting world, assisted the book into painting, and solved the contradiction between pen and ink and image. In my opinion, the north-south division is a kind of progress, developed the former people's theory of division, played a positive role in the development of the painting world at that time. A slightly biased or contradictory view does not overturn it altogether. Through this discussion, we can see that Dong Qichang put forward the north and south sect is not completely belittling the idea of north patriarchal, or relatively objective view of the advantages of the two techniques. After he was regarded as a model by later generations, through the "development" of the orthodox school represented by Wang Yuanqi, the boat made by Dong and others was finally overburdened and capsized. It is also because of the extreme "development" that the literati paintings did not finally prosper under the influence of the North-South sect theory, but achieved the situation of a thousand people in the painting world of the late Qing Dynasty. Wang Yuan Qi and Shi Tao, who came from the same source, finally moved to two opposing camps because of the "redevelopment" of the North-South sect.
【学位授予单位】：湖南师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J212

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