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山水画在隋唐时期成为独立的画科存在,在经历唐、宋、元、明重要时期,从隋唐的青绿山水“无我之境”至宋元“有我之境”的演变。在明清之时“有我之境”[1]成为时代的浪漫洪流,与其明清时的民俗文学相碰撞出雅俗共赏的佳作。本文从“明四家”之一仇英为探入点,其师从古法终得心源。从仇英的院派青绿山水之复兴以及文人山水的画境、隐喻、结构、旨趣来赏析仇英山水画的美学风格。
In the period of Tang, Song, Yuan and Ming Dynasty, the landscape painting became an independent branch of art in the period of Sui and Tang Dynasties. From the landscape of the Green without Survivor to the Song and Yuan Dynasties in the Sui and Tang dynasties, the landscape painting had the evolution of “My Realm.” In the Ming and Qing dynasties, “My Realm” became a torrent of romance of the times, colliding with the folklore in the Ming and Qing dynasties to create a masterpiece of elegance and commonplace. This article from “Ming four ” one of Qiuying as probing point, the teacher finally got the source from the ancient method. The aesthetic style of Qiuying landscape painting is appreciated from the renaissance of qingying landscape of Qiuying ’s academics and the paintings, metaphors, structure and purport of literati landscapes.