六朝画家与群体社会记忆的嬗变
The Changing Social Memories of Artists in the Six Dynasties
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摘要: 六朝时，绘画作为独立的艺术门类开始兴盛，对画家的品评也逐渐丰富。顾恺之与陆探微具有间接的师承关系，画史中以多种文本、不同角度展现了对顾恺之与陆探微的推崇，这是人们对于六朝时期书画家生活的最有力记述。将史料记载与后世摹本对照，可以梳理出“传神写照”自顾恺之到陆探微的发展脉络。书画家得到画史公认的成功，不仅仅需要精湛的画艺，还来自社会群体对他的接受与认同。画史中的叙事无关历史的真实，或对某一事件的适当取舍，其原则取决于记述者的需求。在社会群体的共同建构下，画家的名声不断提升，最终流传后世。Abstract: As an independent art category, painting becomes popular in the Six Dynasties (222-589). Critics are more willing to appreciate and analyze the works. Ancient critics depict Gu Kaizhi’s advocacy for Lu Tanwei from various texts and perspectives, insinuating their subtle relationship. By comparing the historical materials with duplications in later ages, we could meet the development of the style – express spirits with vivid depictions – from Gu to Lu. Besides sophisticated techniques, the unanimously-known successful artists have to be accepted by society. Records in the history of painting have no direct correlation to reality. The demand of the narrator mostly defines it. Under the constructed social awareness, artists gradually rise to fame, and ultimately become renowned over centuries.
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Key words:
- history of painting /
- artists in the Six Dynasties /
- Gu Kaizhi /
- Lu Tanwei
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