从风格到工具:禅宗“散圣图”相关问题研究  

From Style to Tool:Research on related issues of"San Sheng Tu"of Zen

作　　者：施錡 Shi Qi

机构地区：[1]华东师范大学美术学院,上海200062

出　　处：《南京艺术学院学报（美术与设计）》2022年第4期134-141,I0003,共9页Journal of Nanjing Arts Institute:Fine Arts & Design

基　　金：2021年浙江省文化研究工程重点项目“中日禅宗绘画艺术图像交流与文明互鉴研究”(21WH70082-7Z)资助。

摘　　要：从南宋至元代,出现了诸多水墨减笔“散圣图”,一般由禅师题赞。此种“散圣图”流传到日本后,被冠以牧溪、梁楷等画家之名,但“散圣图”的发展谱系并未得以充分的整理。本文通过对“散圣图”的风格变化,以及宋代书写工具的关联研究,得出其发展的特征和内在的规律,从而对部分混淆于其中的仿作进行鉴别。From the Southern Song Dynasty to the Yuan Dynasty,there were many pieces of"San Sheng Tu"of ink and wash brief strokes,which were generally inscribed by Zen masters.This kind of"San Sheng Tu"spread to Japan and was titled after Mu Xi,Liang Kai and other painters,but the development pedigree of such has not been fully sorted out.Through the study of the style changes of"San Sheng Tu"and the correlation of writing instruments in Song Dynasty,this paper finds the characteristics and internal laws of its development,so as to identify some imitations confused in it.

关 键 词：散圣图 梁楷 因陀罗 散卓笔 

分 类 号：J021[艺术—艺术理论]