来岂空言去绝踪——米芾画作文献考论  

The Appearance is Not False but the Disappearance is Almost True ——A Literature Research on Mi Fu's Paintings

作　　者：周兴禄[1] 

机构地区：[1]贵州大学,贵州贵阳550025

出　　处：《铜仁学院学报》2016年第6期78-83,共6页Journal of Tongren University

基　　金：2016年国家社会科学基金后期资助项目<米芾文学及书画理论研究>(16FZW019)

摘　　要：历代著录米芾画作五十余图名,多不传世,真伪杂陈,伪多真少,今皆罕传。但并非"来是空言去绝踪"。米芾画作的题材以山水、人物较多,尤以山水画较有成就,瓣香董、巨,兼师造化,自出机杼,变古创新,其变革之功、启后之意义对后世影响较大。Throughout generations it is recorded that Mi Fu has drawn more than fifty paintings, most of which havenot been handed down, so there exist more artificial versions than genuine ones. His paintings are seldom seen nowadaysbut “it is not true that their appearance is false and disappearance is almost true”. The main theme of Mi Fu’s paintings aremainly about landscapes and characters, but the former is more successful. His painting, which shows reverence to DongYuan, a painter of Southern Tang Dynasty, and Ju Ran, a painter of the Five Dynasties and Song Dynasty, conforms tonature and originality in conception. Its reformation and innovation has a great impact on the later generations.

关 键 词：米芾 画作 文献 题材 

分 类 号：J205[艺术—美术]