徐渭画史地位的历史构建  

The Historical Construction of Xu Wei’s Position in the History of Chinese Painting

作　　者：刘玉龙[1] 张文清 Liu Yulong;Zhang Wenqing

机构地区：[1]陕西师范大学美术学院

出　　处：《美术》2020年第12期93-99,共7页Art Magazine

基　　金：国家社会科学基金艺术学项目“中国画学术语研究”(批准号:16CF163)的研究成果之一。

摘　　要：明末清初,徐渭的绘画在朱谋垔《画史会要》等著述中始有辑录;至清乾隆年间,其绘画逐渐进入鉴藏家的视野,并不断被传布;但在20世纪初的诸多美术史著述中,却少有论及。然通过现当代美术的不断构建,徐渭在美术史上的地位终被确立,并被视为明代写意花鸟画的主要代表人物之一。徐渭画史地位构建的历史,也是其作品逐渐被接受的历史,更是后世审美观念衍变的历史。During the period of late Ming and early Qing dynasties,Xu Wei's paintings began to be recorded in Zhu Mouyin's Painting History Compendium and other academic works.In the reign of Emperor Qianlong of the Qing Dynasty,Xu Wei's paintings gradually entered the vision of connoisseurs and were continuously spread.While in various works of art history in the early 20th century,his achievements were rarely discussed.However,through the continuous construction of modern and contemporary art,Xu Wei's position in art history was finally established,and he was regarded as one of the main representatives of freehand flower and bird paintings in the Ming Dynasty.The progress of constructing Xu Wei's position in the history of painting is also a process in which his works were gradually accepted,as well as a evolve process of the aesthetic concepts of later generations.

关 键 词：徐渭 青藤白阳 绘画 画史地位 

分 类 号：J209[艺术—美术]