中国文人画史上的“四大”坐标

【作者】 杨孝鸿；

【导师】 阮荣春；

【作者基本信息】 南京艺术学院 ， 美术学， 2001， 博士

【摘要】 本文以艺术社会学为方法论，借鉴潘诺夫斯基和里格尔的“艺术意志”和豪泽尔的“精英艺术”、“通俗艺术”等观念来重新梳理文人画发展史，探讨在不同历史阶段儒、道、佛三教对文人画形成与发展所构成的潜在影响，并促使其从萌芽期走入文化内涵定型期、笔墨形式大发展期以至最后的集成期，在这四个时期中又分别孕育出四位文人画家来转变、带动文人画的前进，使“气韵”、“意气”、“笔墨”等范畴趋于成熟定型。他们在历史上所起到的作用与角色恰如数学图表中“坐标”原理，一方面扩大其群众基础，加强文人意识，另一方面又劈风斩浪。一次次引导着文人画由小到大、由弱到强，步步走向成熟，成为画坛的主流。更多还原

【Abstract】 The article use the sociology of art as methodology, with the idea ofE.Panofsky and Alois Riegl’s "kunstwollen" and Arnold Hauser’s "elite art"."pop art" scan the history of the literary painting again, probe intoConfucianism. taoism. Buddhism. these three religions made the potentialinfluence in the literary painting form and develop in different historicstage .and urged it entered the stage of sprouting into the stage of cultureintension. the stage of greet develop in pen and ink form. and the lastintegration stage .In these four stages which also gestated four literaryartists. they changed and lead the literary painting develop. and made the"verve"," will and spirits" ,"pen and ink" and so on, they lead such category tomature and set. They had on the acting and role just like the "coordinate"theory in mathematics chart. On the one hand, they expended commonaltyfoundation and enhanced literary consciousness. on the other hand, theyhacked wound cut wave, again and again, they lead the literary painting from smallness to large. from feebleness to strong. step by step into mature,take up the predominant current in painting field.更多还原