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五代时期有四个绘画发达区域,若按照分布画家的多少则依次为,成都平原地区、江浙地区、关中地区、京洛地区。上述四个绘画发达区域所出几乎占五代可考州府画家总数的百分之八十以上,集中程度非常显著。而这其中,南方两个绘画发达区域的地位是明显高于北方的,成都平原与江浙地区所出画家占五代时期画家总数的百分之六十以上,作为西蜀与南唐中心的成都府和江宁府无疑是当时画家分布的重心。蜀地与江南分处长江上游与下游,两地东西相望,成为当时全国两个文化中心,画家之密集是其他地区难以企及的,因而五代时期的绘画重心南移并处于长江流域即是不争的事实。而关中地区的京兆府和京洛地区的河南府作为北方画家分部较密集的地区虽仍可认为是当时绘画的发达区域,但比之于南方绘画的强劲势头,其影响力已经大为削弱,而先前所积累的传统优势也几乎丧失殆尽。这种南北绘画实力的消长,能否成为一种实质性变革的开端,是我们需要特别注意的,而这种趋势能否被延续则要在接下来的宋代绘画地理格局演进中被揭示。
During the Five Dynasties, there were four developed regions of painting. According to the number of painters distributed, they were in plain areas of Chengdu, Jiangsu and Zhejiang, Guanzhong and Jingluo areas. The developed area of the above four paintings accounted for more than 80% of the total number of state laborers who can be found in the past five generations, with a very significant degree of concentration. Among these, the status of the two developed areas in the south was significantly higher than that in the north. Painters in Chengdu Plain and Jiangsu and Zhejiang provinces accounted for more than 60% of the total number of painters of the Five Dynasties. As the Chengdu And Jiangning House is undoubtedly the center of painter distribution at the time. Shu and Jiangnan branch in the upper reaches of the Yangtze River and the lower reaches of the two things across the East and West, became the two national centers of culture at that time, the concentration of painters is difficult to match in other areas, so the focus of the Five Dynasties paintings moved south and in the Yangtze River basin that is indisputable fact. Jingzhao Prefecture in the Guanzhong region and Henan Province in the Jingluo region, as the northern part of the painter’s division, may still be regarded as the developed areas of the time. However, their influence has been greatly weakened compared with the strong momentum of the Southern painting , While the traditional advantages accumulated earlier are almost lost. Whether this strength of North and South painting can be the beginning of a substantive change is something that we need to pay special attention to. Whether this trend can be continued is to be revealed in the subsequent evolution of the geographical pattern of the Song Dynasty paintings.