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明中后期实景园林画的研究成果,如高居翰、黄晓等合著的《不朽的林泉》,并没有从绘画角度论述这些实景园林画的艺术性及价值,而是就绘画的实景参照性以及对画作所依据的园林加以阐述。因此,有必要对明中后期实景园林画做重新阐述,发掘其艺术价值,探究古代画家的艺术思想与自然情怀。本文从明中后期杜琼、沈周、文徵明及钱穀、张复、张宏等人所作的实景园林画各个时期的变化、艺术特色、手法与其他界画等方面做深入的比较、探索。
The research achievements of real landscape paintings in the middle and late Ming Dynasty, such as “Immortal Lin Quan” co-authored by Gao Jiong and Huang Xiao, did not discuss the artistic features and values of these real landscape paintings from the perspective of painting. Instead, The painting based on the garden to be elaborated. Therefore, it is necessary to reinterpret the real scenery garden paintings in the middle and late Ming Dynasty to explore its artistic value and explore the artistic thoughts and natural feelings of the ancient painters. This article makes an in-depth comparison of the changes, artistic features, techniques and other boundary pictures of real landscape paintings made by Du Qiong, Shen Zhou, Wen Zhengming and Qian Gu, Zhang Fu and Zhang Hong in the late Ming and early Ming dynasties .