《书史》《画史》的叙事转向  

The Narrative Turn of History of Calligraphy and History of Painting

作　　者：李浩然 LI Hao-ran(School of Fine Arts,Tsinghua University,Beijing 100084)

机构地区：[1]清华大学美术学院,北京100084

出　　处：《艺术百家》2023年第2期153-158,共6页Hundred Schools In Arts

摘　　要：中国古代艺术史家擅长叙事,却有着叙事模式之别。在以帝王将相、精英人物为中心的传统治史模式的影响下,宋代以前的艺术史写作通常按照传统史籍的治史方法,表现为以朝代为类目、以艺术家为中心的宏大叙事,这是一种以品评艺术家为主的“叙史”写作体例。到了宋代,私撰笔记的大量涌现使得以艺术作品为中心的叙事成为主流,特别是以米蒂为代表的著述家,成为中国古代艺术史叙事模式在由宏观至微观之转向过程中的重要推动力量。Ancient Chinese art historians are good at narrative,but they have different narrative modes.Under the influence of the traditional historical model centered on emperors,generals,and elites,the writers before the Song Dynasty usually wrote their art history in the way of traditional historical records,which represented a grand narative with the dynasty as the category and the artist as the center.This is a"historical narration"writing style that focuses on the evaluation of artists.In the Song Dynasty,the large number of private notes made the"narration"centered on the works of art become the mainstream,especially the writers represented by Mi Fu,which became an important driving force in the process of changing the narrative mode of ancient Chinese art history from macro to micro.

关 键 词：《书史》《画史》 米芾 叙事转向 艺术作品 通俗化 

分 类 号：J20[艺术—美术]