本文選題：南北宗 + 莫是龍�。� 參考：《上海師范大學(xué)》2013年博士論文

【摘要】：南北宗是中國美術(shù)史上極為重要的一個問題。該理論自晚明誕生至今已有近四百年的歷史，，其回溯歷史的框架對今人仍然產(chǎn)生著深刻的影響�？墒�，關(guān)于這個理論的是與非在很長時間里都爭議不休，甚至連其創(chuàng)說者是誰也從上個世紀一直爭論到現(xiàn)在。本論文首次通過截取一個時段并建立人物鏈條的研究方法，對南北宗理論的形成經(jīng)過進行追溯。這打破了以往僅僅圍繞莫是龍或董其昌進行理論創(chuàng)說權(quán)進行爭議的限制，為重新審視這個重要畫學(xué)理論的誕生與發(fā)展提供了新的視角。通過將書籍出版的外部證據(jù)和書畫題跋、著述及書信等材料所體現(xiàn)出的觀念發(fā)展的內(nèi)部證據(jù)相結(jié)合并進行分析，筆者拈出了董其昌“世近則托形以傳，世遠則托聲以傳”的觀點在當時乃至現(xiàn)代所具有的重要意義，并且得出這樣的結(jié)論，即南北宗是莫是龍時已經(jīng)提出的觀念，但因莫氏英年早逝，所以，該理論到數(shù)年之后董其昌、陳繼儒為其整理《畫說》以后才逐漸為人所知。而《畫說》的一再刊行和被文人著書反復(fù)征引，最終使得南北宗理論成為晚明文人的討論熱點。適逢當時松江、吳門之爭愈演愈烈，于是，原本只是相對單純的一種分類法理論，后來逐漸成為一場畫壇運動的旗幟與口號。因為宦海沉浮而聲名顯赫的董其昌對于該理論的反復(fù)運用，終究使得他在歷史長河中逐漸取代了聲名漸黯的布衣文人莫是龍的位置，漸漸成為南北宗理論的代言人。本論文關(guān)于1537-1610這個時段的分析旨在揭示南北宗論如何在畫壇上從無到有，然后從一種分類法演變成一場運動的旗幟與口號的整個過程。
[Abstract]:The South-North sect is an extremely important issue in the history of Chinese art. The theory has a history of nearly 400 years since it was born in the late Ming Dynasty. But the theory has been debated for a long time, even by its creators from the last century to the present. For the first time, this paper traces the formation of the North-South sect theory by intercepting a period of time and establishing the research method of character chain. This breaks the limitation of the previous controversy about the right to create and say about Mo Yilong or Dong Qichang, and provides a new angle of view for re-examining the birth and development of this important theory of painting. By combining the external evidence published in the book with the postscript of calligraphy and painting, the internal evidence of the development of ideas embodied in the materials such as writings and letters, the author has come up with Dong Qichang's "the near world is shaped to pass on." The important significance of the viewpoint of Shi Yuan in passing on his voice at that time, and even in modern times, and came to the conclusion that the North-South sect was a concept that had been put forward when Mo was a dragon, but because Morse died young, so, The theory was not known until several years later, when Dong Qichang and Chen Jiru collated the painting theory. However, the repeated publication of painting Theory and the repeated quotation by literati books made the theory of North and South sect become a hot topic for scholars in the late Ming Dynasty. At that time, the Songjiang, Wu Men controversy intensified, so, originally is a relatively simple classification theory, and then gradually become a painting movement banner and slogan. After all, Dong Qichang's repeated application of the theory made him gradually take the place of the dubious scholar in the long history, and gradually become the spokesman of the theory of the North and the South sect. The analysis of the period 1537-1610 in this paper aims to reveal the whole process of how the theory of North and South Buddhism emerged from scratch in the painting world and then evolved from a kind of classification into a banner and slogan of a movement.
【學(xué)位授予單位】：上海師范大學(xué)
【學(xué)位級別】：博士
【學(xué)位授予年份】：2013
【分類號】：J209.2

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