本文主要对唐代绘画史著述和绘画品评著作中的绘画史学理论、观点和方法进行研究。中国绘画发展到唐代进入了繁荣时期，唐代的绘画史学理论也取得了辉煌的成就。本文以唐代绘画史籍文本为研究对象，将唐代绘画史籍按照时间顺序，大致分为初唐、盛唐、晚唐三个时期，把各个时期出现的绘画史籍进行较为全面、系统的梳理、分析和研究，对其版本的真伪、编撰体例、绘画思想、史学理论、绘画美学等方面进行较为深入的探讨。本文在研究中注重对古代文献资料的考订和引用，通过对绘画史著述文本材料的辨析和考证，试图展示唐代画学的真实面貌，从而揭示唐代绘画史学的学术价值和史学理论成就。通过研究发现，唐代的绘画史著述，从绘画史学的角度继承并发展了前代的画学著述撰写传统，一方面出现了初唐时期彦悰的《后画录》、李嗣真的《画后品》等著作接续前代的绘画史著述进行写作，另一方面出现了晚唐时期张彦远的《历代名画记》这一集大成的、体例完备的绘画史著作，同时还在晚唐时期出现了第一部断代史绘画史著作即朱景玄撰写的《唐朝名画录》；在绘画功能的问题上，张彦远发展了前人对这一问题的认识，他提出了“成教化、助人伦”的观点，同时又提出绘画能够“怡悦情性”，他将儒家有关绘画“兴成教化”、“鉴戒贤愚”的社会功能与道家“清静无为”、“道法自然”的思想结合起来，完善了对绘画功能的认识，成为中国绘画的核心价值观。这种认识的改变与绘画题材的变迁密切相关，绘画发展到了晚唐时期人物画的地位开始式微，山水画开始兴盛起来，并且在五代和北宋时期达到了顶峰。张彦远在绘画功能上的认识表明他具有敏锐的史学发展眼光和深邃的洞察力。在绘画品评理论方面，唐代绘画史著述在前代提出的“上中下”三品品评绘画标准的基础上，提出“神妙能逸”四品品评标准和“自然、神、妙、精、谨细”五等说，建立起中国绘画作品品评体系及画家的评价系统，对宋元明清的绘画创作及绘画理论产生了深远影响。上述唐代绘画史著述中体现出的绘画史学理论及画学思想，对于建设当代有中国特色的绘画史学科及绘画批评理论具有重要的借鉴意义和参考价值。

This paper focuses on the historical theory, research perspectives, methods in the painting history and painting critical works of Tang Dynasty. In Tang Dynasty, the development of Chinese painting entered the era of prosperity, painting art historical theory during this period also made brilliant achievements. In this paper, the author took the painting historical records text in Tang Dynasty for the study object, set up in chronological order, divided the Tang Dynasty painting historical records into early Tang, prosperous Tang, Late Tang three periods, to comb, analysis and research the painting historical records appeared in each period for a comprehensive and systematic research, to analyze and research the authenticity of their version, compiled style, painting ideas, historical theory, painting aesthetics.In this paper, the author focused on ancient literatures’ textual research and quote in study, through discrimination and examination of writing text material of painting art history, trying to show the true face of the Tang Dynasty’s painting history, which revealed the academic value and historical theory achievements of the Tang Dynasty’s art painting history. The research shows from the perspective of art painting history, the history of painting works in the Tang Dynasty inherited and developed the previous generation painting works written tradition, on the one hand appeared Yancong’s Hou Hua Lu (Later Record of Painters) and Li sizhen’s Hua Hou Pin (Later classification of Painters) and other writings which were continue the previous generation painting works writing history, on the other hand, appeared Zhang Yanyuan’s Li Dai Ming Hua Ji (Record of Famous Painters of All the Dynasties), which was a comprehensive and systematic art history work, and the first dynastic history of painting works on the history which was written by Zhu Jingxuan named Tang Chao Ming Hua Lu (Record of Famous Painters in Tang Dynasty) in late Tang period; On the issue of painting function, Zhang Yanyuan developed predecessors’s understangding on this issue, he proposed that painting was not only to “Help people complete the ideological education and ethics” but also put forward painting can “make people pleasant”, he mixed Confucian’s view which was “to enlight people and to warning people to do good things” and Taoist’s thought which was “follow the nature’s law” consummate peoples’ understanding on the function of painting, which later became the core values of Chinese painting. The change of this understanding closely related to the shift of the theme of the painting. In late Tang Dynasty, the position of portrait painting has begun to decline while the landscape painting began to thrive and reached its peak in the Five Dynasties and Northern Song Dynasty. Zhang Yanyuan’s understanding in painting function indicated that he has a keen sense of historical development vision and deep insight. In commentary painting theory, on the basis of the three major categories “Upper, Middle and Lower” which was proposed in the former generation, the Tang Dynasty’s art history works put forward Shen Miao Neng Yi (the Inspired, the Excellent, the Competent, the Untrammeled) four commentary standards and Zi Ran, Shen, Miao, Jing, JinXi (Natural, the Inspired, the Excellent, the Refined, the Meticulous) five classes, established a system to evaluate the Chinese paintings works and Chinese paiting artists, had a profound impact on the painting creation and paintings thoughts in Song, Yuan, Ming and Qing Dynasties. The art history theory and painting thoughts mentioned above in the art painting history works of Tang Dynasty have important quotable experiences and reference value to construction of contemporary art history painting discipline and art painting criticism theory with Chinese characteristics.