赵孟頫与元四家之变  

Zhao Mengfu and four master painters of Yuan Dynasty

作　　者：邓乔彬[1] 李杰荣[1] 

机构地区：[1]暨南大学文学院,广东广州510632

出　　处：《东南大学学报（哲学社会科学版）》2010年第6期82-88,共7页Journal of Southeast University(Philosophy and Social Science)

摘　　要：赵孟頫与元四家的升降进出,与元代绘画的发展趋势及文人画的审美趣尚紧密相关,这可从宋元绘画之变,文人画推崇"逸品"进一步寻找原因。虽然赵孟頫"提醒"元画品格,自作涉及多种题材,却没能明确元画的发展方向,其画也未形成个人的典型风格。元四家才是成熟元画的代表和最高成就者,也因为他们符合并引导中国绘画向山水发展的潮流,而成为后世之典范,为明清两代极力推崇和模仿;文人画对逸品的审美倾向,使倪瓒的地位抬升得更高。所以,赵孟頫与元四家之变,正是中国绘画史发展的结果。The change in the ranking of four master painters in the Yuan Dynasty was closely related to the trend of painting and the aesthetic taste of literati painting in that period.Although Zhao Mengfu was regarded as a key figure who added a new feature to the Yuan Dynasty painting,he failed to determine the direction of future painting as his works lacked personal style.It is the paintings of the other four masters that represented the highest achievements of painting in the Yuan Dynasty.As they led the trend of Chinese painting in the following period,their works were highly praised and widely imitated by painters of the Ming and the Qing dynasties.

关 键 词：赵盂烦 元四家 宋元绘画 变化 逸品 

分 类 号：J209.2[艺术—美术]