本文選題：宮廷畫家　切入點：翰林院　出處：《故宮博物院院刊》2017年04期 　論文類型：期刊論文

【摘要】：唐代翰林院畫待詔是皇室不可或缺的一類使職,通常以加領(lǐng)虛銜的方式寓俸祿和秩品位。在玄宗始創(chuàng)翰林院初期,畫待詔的任用一度較為混亂,到中唐,通過改革確立了集賢畫直到翰林待詔的升遷方式,畫待詔由此成為宮廷畫家的最高職位,從而顯示出層級化和序列化的官制特征。唐朝以后,歷代宮廷御用畫家的任用制度雖然各有特色,但無不因承唐制。
[Abstract]:In the Tang Dynasty, Hanlin Yuan painting Dizhao is an indispensable duty for the royal family. It usually combines salary and rank by adding a false title. In the early days of Xuanzong's creation of the Imperial Academy, the appointment of painting and waiting for the imperial imperial court was once more chaotic, until the middle Tang Dynasty. Through the reform, it established the way of promotion of the collection of virtuous paintings until Hanlin was waiting for the edict, which became the highest position of court painters, thus showing the official characteristics of hierarchy and serialization. After the Tang Dynasty, Although the appointment system of imperial painters in the past dynasties has its own characteristics, it is due to the system of Tang Dynasty.
【作者單位】： 華東師范大學(xué)美術(shù)學(xué)院;
【分類號】：K242

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相關(guān)期刊論文 前4條

1 陶新華;;漢代的“待詔”補論[J];社會科學(xué)戰(zhàn)線;2005年06期

2 王元軍;唐代的翰林書待詔及其活動考述[J];美術(shù)研究;2003年03期

3 匸，

本文編號：1601690