董其昌杭州诸问题综考

【作者】 颜晓军；

【导师】 吴敢；

【作者基本信息】 中国美术学院 ， 美术学， 2009， 硕士

【摘要】 本文是对董其昌与杭州相关问题的系统梳理和综合考察。董其昌一生都与杭州保持着联系,他在杭州的交游活动对其书画艺术和思想理论产生过重要影响。本文主要根据所及明清文献资料的记载,参考数十种书画著录以及相关书画作品,而涉及到董其昌的早年书学、“南北宗”论、禅悦悟道、交游活动以及书画鉴藏等各方面内容。杭州灵隐寺所藏董其昌书《金刚经》系一不为广知的作品,为研究其早年书学提供了可靠的实物证据。杭州朋友和各方藏家所形成的鉴藏圈,特别是冯梦祯藏《江山雪霁图》和高濂藏郭忠恕摹《辋川图》,对董其昌的王维观念起着决定性作用,进一步为“南北宗”论奠下基石。他在杭州接触各种书画文物,开阔见识,增厚学养,并受到西湖风光的激发而产生创作灵感。董其昌和高僧莲池的交往在以往研究中较少为人阐述,实则与其禅悦悟道关系颇深。诸如此类,足见董其昌与杭州的甚深因缘,更试为美术史上一些聚讼不休的问题寻求新的解决方案。更多还原

【Abstract】 This essay is a comprehensive historical survey of Dong Qichang(1555-1636) and Hangzhou, a then regional capital in east China. Through his entire life, Dong was connected to Hangzhou. His visits to the town as well as his social activities in town influenced his theories and practice of painting and calligraphy. Based on available literature from Ming and Qing Dynasties, and with a reference to related paintings and calligraphy works as well as dozens of records of such works, this essay tries to touch issues such as Dong’s early calligraphy theory, the theory about the Southern and Northern schools, his enlightenment and bliss of Dhyana, his social network, his collection and connoisseurship. Vajra Sutra in the collection of Linyin Temple, Hangzhou, is a piece by Dong yet not well-known. This provides evidence for studies of Dong’s early calligraphy theory. From his coterie of collectors and friends in Hangzhou, especially Jiangshan Xueji Tu (Rivers and Mountains after Snow) collected by Feng Mengzhen, and Wangchuan Tu (Wang-ch’uan Villa) traced by Guo Zhongshu and collected by Gao Lian, decisively impacted Dong’s view of Wang Wei, which further leads to the cornerstone of his theory of Southern and Northern school. Dong’s exposure to various paintings, calligraphy works and other antiquities in Hangzhou nourished his mind while the scenery of West Lake inspired his art practice. Dong’s friendship with Lianchi, an eminent monk, is rarely mentioned in previous research, yet is pertinent to his enlightenment and bliss of Dhyana. Constructing a narrative of Dong’s attachment to Hangzhou, this essay also tries to develop a new approach to some outstanding disputes in Chinese art history.更多还原