發(fā)布時(shí)間：2019-03-09 13:15

【摘要】：正唐畫無名款,宋畫開始署名,但多在樹邊石隙。題詩于繪畫的空白部分,始于少數(shù)宋代文人畫家。元明以來,題寫詩文者漸多,方薰在《山靜居畫論》中指出:"款題圖畫始自蘇、米,至元明而遂多,以題語位置畫境者,畫亦由題而妙。高情逸思,畫之不足,題以發(fā)之,后世乃為濫觴。"~([1])沈?yàn)懂媂u》論吳門畫家款題曰:"衡山翁行款清整,石田晚年題寫灑落,每侵畫位,翻多奇趣,白陽輩效之,一幅中有天然候款處,失之則傷局。"~([2])
[Abstract]:Tang Dynasty painting nameless, Song painting began to sign, but more in the stone gap by the tree. Poems inscribed on the blank part of painting began with a small number of literati painters in the Song Dynasty. Since the Yuan and Ming dynasties, more and more poems have been written, and Fang Hsin pointed out in Shan Jingju painting Theory: "the title pictures begin from Su, Mi, to Yuan Ming and then more, and those who draw with inscriptions are also wonderful by the title." High sentiment, the deficiency of painting, the title is hair, later generations is the beginning. "~ ([1]) Shen Hao < painting Xu > on Wu men painter's section title:" Hengshan Weng Xing style clean, Shitian later years inscription sprinkled down, every invasion of the position, more interesting, Bai Yang multi-effect, There is a natural waiting place in one picture, and if it is lost, it is injured. "~ ([2])
【作者單位】： 中央美術(shù)學(xué)院;
【分類號】：J292

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