从《味水轩日记》、《六研斋笔记》看李日华绘画史观之转变

明代书画家、收藏家李日华没有象董其昌那样用明晰的语句来概述他对绘画史的整体认识,但从李日华《味水轩日记》、《六研斋笔记》等著作对绘画作品的品鉴中,仍可看到他对绘画史有一个自成体系的把握和理解。本文试图将李日华现存著述、题跋中有关绘画的品鉴和个人认识汇集起来,从而勾勒出李日华的绘画史观念。

Examining Changes in the Historical Viewpoint on Painting of Li Rihua as Seen from Weishui-Xian Riji (Diary of the Water Taster's Studio) and Liuyan-ZhaiBiji (Notes from Liuyan Studio)

Unlike Dong Qichang, Li Rihua did not make such clear statements encapsulating his views on art history, but from his works on the appreciation and evaluation of calligraphy and painting, such as Weishui-Xian Riji (Diary of the Water Taster's Studio) and Liuyan-Zhai Biji (Notes from Liuyan Studio), we still can discern a systematic view in his grasp and understanding. The author examines Li Rihua's extant works, his comments inscribed on works of calligraphy and painting, and his personal ideas, to delineate an overall understanding of his ideas on art history.