摘要
《骑驴归思图》是唐寅的代表作品,对于此图的创作时间,前人观点不一。本文通过重解图中诗意,并结合传世作品与文献记载,指出该图创作于画家自南昌归乡后,且认为唐寅在会试前并不着意绘事。另外,本文试称唐寅"新创"的皴法为"湿墨游丝皴",并在对其山水画分类的基础上探究此皴的源流与特点,藉此厘清唐寅山水画的演变脉络。
The arguments remain among scholars over when the painting titled‘Riding a Donkey Back Home’(Qi Lu Gui Si Tu in Chinese pinyin)was created by Painter Tang Yin,which is regarded as his representative work with special wrinkling(Cun)brushstrokes.The analysis reinterprets the poetry context of the painting combining the handed-down works and documents,followed by the point that the painting was completed after his returning homeland from Nanchang not before his taking part in the central examination in ancient imperial examination system of China.As for Tang Yin’s‘innovated artistic techniques’in wrinkling brushstrokes(Cun),this thesis tries naming it gossamer wrinkles with watery brushstrokes’here and probes into its sources and characteristics by the classification of Tang’s landscapes to unveil the evolution of Tang Yin’s landscape works of art.
出处
《故宫博物院院刊》
CSSCI
北大核心
2021年第12期87-100,137,138,共16页
Palace Museum Journal
关键词
骑驴归思图
唐寅
周臣
皴法
‘Riding a Donkey Back Home’(Qi Lu Gui Si Tu)
Tang Yin
Zhou Chen
wrinkling(Cun)brushstrokes
