李思训绘画研究

发布时间：2018-12-08 09:32

【摘要】：李思训是中国画史上非常重要的山水画家,以青绿山水画著称。然而由于材料的缺乏,一直以来关于李思训绘画的研究都较为简略。本文结合目前可见的传统画史材料、正史文献和新出考古材料,对李思训生平、画事及画风进行重新发掘,尽可能详细考察其生平事迹、性格特征,进而特别依据唐人记述及可见的唐代图画资料,从画题、用笔及敷色三方面考察李思训可能的绘画风格,并凸显其与北宋以后画史记述中李将军父子画风的差异在于画题上由"山海图"转向世俗的山水特别是蜀中山水、用笔上由"遒劲"转向"细密"或"无笔踪"、敷色方面由不见特别记述转向成为"着色山水"之代表,从而揭示出所谓的李思训画风正是在画史的这种历史构造中逐渐塑造形成的,而绘画风格形式也唯有在这种历史构造中树立起它的典范意义。
[Abstract]:Li Sixun is a very important landscape painter in the history of Chinese painting, known as green landscape painting. However, due to the lack of materials, the study of Li Sixun's paintings has been relatively simple. In this paper, the author rediscovered Li Si-xun 's life, painting and painting style by combining with the traditional painting history materials, official historical documents and newly produced archaeological materials, and investigated his life story and character characteristics in as detail as possible. In particular, according to the Tang Dynasty narrative and visible Tang Dynasty picture materials, Li Si-xun 's possible painting style was investigated from three aspects: painting title, pen and color application. It also highlights the difference between the painting style of General Li and his son in the history of painting after the Northern Song Dynasty, which is that the painting title changes from "mountain and sea map" to secular landscape, especially the landscape of Shu Zhong, and from "Qiu Jin" to "meticulous" or "without a trace" on his pen. The application of color changed from a special description to a representative of "colored landscape", thus revealing that the so-called painting style of Li Si-xun was gradually shaped in this historical structure of the history of painting. And painting style form only in this historical structure to establish its exemplary significance.
【作者单位】：北京大学哲学系美学与美育研究中心;
【分类号】：J212

【参考文献】