髡残在20世纪的传播与影响  

The Spread and Influence of Kun Can's Paintings in the 20th Century

作　　者：吕晓[1] Lv Xiao(the Theoretical Research Department,the Beijing Fine Art Academy)

机构地区：[1]北京画院理论研究部

出　　处：《美术》2023年第6期76-85,共10页Art Magazine

摘　　要：从“二溪”到“二石”,再到“三高僧”“四僧”,随着“四僧”概念的建构,髡残在清代画史上的地位逐渐提高,至民国初年成为与清代“四王”对立的个性派的代表。由于作品存世较少,髡残的绘画在清代的影响有限。民国时期,一批深藏于私家的作品在报刊上发表,借助现代传播手段,为更多人了解,进而推动髡残绘画的研究,其画风也对黄宾虹、黄君璧、张大千、钱松嵒、黄秋园等大批画家产生深远影响。Kun Can gradually gained a higher status in the painting history of the Qing Dynasty(1636-1912),a testament to which was that he was always mentioned with other famous artists,including such titles as "Er Xi" with Cheng Zhengkui, "Er Shi" with Shi Tao,and "Four Monks" with Zhu Da,Hong Ren and Shi Tao.In early years of the Republic of China(1912-1949),he became a representative of a unique school opposed to the "Four Wang"(including Wang Jian,Wang Shimin,Wang Hui and Wang Yuanqi) of the Qing Dynasty.Kun Can's paintings had limited influence in the Qing Dynasty due to the fact that few works survived.During the period of the Republic of China,a number of his works collected by private individuals were published in newspapers,a modern communications tool that helped more people know about these works.This advanced research on the paintings of Kun Can,whose painting style profoundly influenced a large number of painters,including Huang Binhong,Huang Junbi,Zhang Daqian,Qian Songyan and Huang Qiuyuan.

关 键 词：髡残 石谿 四僧 山水画 黄宾虹 

分 类 号：J212[艺术—美术]