董其昌

论董其昌画学的心学色彩

New Confucianism in the Painting Theory of DONG Qi-chang

本文前面追问董其昌倡导“文人画”的理念，是否具有当代性。

Formerly we have asked whether Dong Qichang 's " Literati Painting " concept is also contemporary .

董其昌画学兼融了禅宗和心学思想，这是那个时代思想面貌在他的绘画思想中的反映。

DONG Qi-chang 's painting philosophy mixes Dhyana and New Confucianism , reflecting the features of that age .

项氏法书鉴藏是董其昌在书法艺术方面得以成功的转折点。

The collection of the calligraphy in Xiangs'family is the successful turning point of DONG Qi-chang 's study of calligraphy .

他们继明代董其昌之后恢复古风，领导画坛，当时被视为山水画正统。

They renew ancient style and lead in painting field . Moreover they are viewed as classic for Chinese landscape painting .

他继承了苏轼“平淡天真”、董其昌“淡然无味天人粮”的思想，确立了“刚健婀娜审真伪”的审美原则，具有重要的理论价值。

Furthermore , he established the aesthetic principle of " vigor and grace identify reality or falsity " which is of important theoretical value .

晚明文艺思潮对绘画的影响&徐渭、董其昌比较研究

The Influence of Trend of Thoughts in Literature and Art in late Ming Dynasty on Painting : a Comparative Study of XU Wei and DONG Qi-chang

他开始有系统的钻研中国文人雅士的画作，特别崇尚八大山人和董其昌，对他们画作中的精致细腻以及敏锐感性所深深感动。

He delved into a systematic research on Chinese literati painting , fascinated by the exquisite refinement and sensitivity in the paintings of Bada Shanren and Dong Qichang in particular .

本文首先简要考察了担当的生平，其次着重探讨了担当山水画风的主要来源：董其昌，苍雪，云南的石灰岩地貌，文征明等。

Next , this article discusses the important source of the Dan Dang 's landscape painting : Dong Qichang , Cang Xue , Yunnan 's limestone landform , Wen Zhengming , etc.

通过对其《雨窗漫笔》中的构图理论的分析，阐明他在继承董其昌、王时敏的基础上，对传统的重新认识。

Through the analysis of the composition theory of his literary notes by the window on rainy days , this paper illustrates his new understanding of the tradition on the basis of inheritance of Dong Qichang and Wang shimin .