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提到清代画坛的“四王”(王时敏、王鉴、王翚、王原祁),人们会与明代画坛一代宗师董其昌相联系,因为无论在艺术理念上,还是在具体画法上,两者都有着无法割舍的血脉关联。按照王时敏的说法,实乃“同鼻孔出气”①。或按照王原祁的见解,可谓“华亭血脉,金针微度,在此而已”②。不过依我看来,如细究起来,在“四王”当中,大约王翚是与董其昌在绘画旨趣和格调上拉开较大间距的一位画家。这种间距的形成原因是多方面的,但其中有一个重要方面就是两人对元代绘画审美解读的不同取向。
When it comes to the “Four Kingdoms” of the Qing Dynasty’s painting circles (Wang Shimin, Wang Jian, Wang Tuan, and Wang Yuanqi), people are associated with Dong Qichang, the mastermind of the Ming Dynasty’s Ming and Qing dynasties, for both artistic conception and concrete painting There can not give up the blood associated. According to Wang Shimin’s argument, it is “with nostril” ①. Or in accordance with the original view of Wang Qi, described as “Huating blood, micro-pin microscopy, in this only” ②. However, as far as I can see, as far as I can see, in the Four Kings, Wang Wang is an artist with Dong Qichang widening the space for painting. There are many reasons for the formation of this spacing, but one of the important aspects is the different orientation of aesthetic interpretation of Yuan Dynasty paintings by the two.