中国西北宗山水画说  

A Discussion to The Northwest School of Chinese Landscape Painting

作　　者：饶宗颐[1] 

机构地区：[1]香港中文大学

出　　处：《敦煌研究》2006年第6期10-12,I0011-I0014,共7页Dunhuang Research

摘　　要：本文认为大西北自古为华戎争夺及贸易地带,是中外文化大熔炉,而西北山水更有其独特之处,故山水画应有西北一宗;并在此基础上就“西北宗”之画学背景及画法进行了探讨。The paper holds that the vast region of northwest China had been witness so many wars ever since in history between Chinese and other nationalities to the west and the north of ancient china contended for supremacy round this regions and it had met of immense cultural, religious and material exchange, a place of a lively haven for caravan trade, for most of citizens, here was just like a smelting furnace of international cultural. The northwest China had also taken a distinctive course of its own in the nature geographic features showing in its rivers and mountains. Identifying the Northwest School of Chinese Landscape Painting in this context, this paper go on to discussing the background of the study of the northwest school of landscape painting and the method of drawings.

关 键 词：西北宗 山水画 背景 画法 

分 类 号：J209.9[艺术—美术]