摘要
周代宫廷绘画在创作主体和管理体制两方面取得突破性进步。"画缋"之工、画史和"客"以不同的社会身份组成了周代宫廷绘画的创作主体,这种组合方式对后世产生重大影响。"画缋"之工,隶百工,由于"百工"在周代有两种意义,对其进行管理的机构也就有了差别,卿事寮下的司空事官与管理皇家事务的宰都曾对其进行过管理;春秋战国时期出现的画史,是史官体系中的一种,受太史寮或者宰的管理。并且,战国时期已经出现关于宫廷绘画的理论探讨,这也是宫廷绘画在周代正式出现的重要标志之一。
In the Zhou dynasty,palace painting got a breakthrough in both creator and management system,which enabled the formal establishment of its form.'Hua-hui' Workers,Hua Shi and 'Ke'who were in different social classes,became the creators of Zhou Dynasty palace painting and exerted significant impact on future generations.'Hua-hui' Workers were part of Bai Gong and,as Bai Gong had two meanings in the Zhou dynasty,were governed by two different management systems,that is,Si Kong under Qing Shi Liao and Zai in charge of royal affairs.Hua Shi,appeared during the Spring and Autumn Period and Warring States Period,know as a kind of official historian,was also under the management of Tai Shi Liao or Zai.Moreover,the research on the theory of palace painting had emerged during the Zhou Dynasty,which stood as an important symbol of the formal presence of palace painting in the Zhou Dynasty.
出处
《南京艺术学院学报（美术与设计）》
北大核心
2012年第2期58-62,202,共5页
Journal of Nanjing Arts Institute:Fine Arts & Design
关键词
周代宫廷绘画
"画缋"之工
画史
客
Zhou Dynasty Palace Painint 'Hua-hui' Workers Hua Shi,Ke
作者简介
刘凯（1985-），男．山东泰安人，东南大学艺术学院博士研究生在读，研究方向：艺术史
