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中国山水画学到了明董其昌时代,出现了以禅喻画的“南北宗”之说。董其昌以唐之禅分两宗比拟当时的青绿、水墨两派画系,可谓开中国画学流派分析之先河。北宗重渐悟,南宗重顿悟。北宗画家(以李思训为始)画法谨细,风格粗硬;南宗画家(以王维为始)画法清逸,风格淳秀。北刚南柔,是董其昌对山水画分宗立派的标准。董其昌这一理论的另一创见,是旨在发扬南宗画(文人画)天然淡雅、逸笔草草的风格。故南宗笔墨成为了中国画学之核心,使它的表现最大限度地挣脱了写物的束缚,树立了绘画作品中的道德修养和思想境界。因此,董其昌的南北宗说,即使到了今天,于当代中国山水画的创作乃至当代艺术的发展仍具非常重要的现实意义。
Chinese landscape painting learned the Ming dynasty Qichang era, appeared with Zen metaphor painting “North-South”. Dong Qichang to the Zen of Tang two compared to the then green, two schools of ink painting, can be described as a precedent for the analysis of Chinese painting schools genres. North Zuizhuo grasping, South Zongqing epiphany. Northern painter (to Li Silang as the beginning) drawing carefully, style rough; South painter (to Wang Wei for the first time) Qing style painting, style Chunxiu. North Gangnan soft, is Dong Qichang landscape division of religious standards. Another creative idea of Dong Qichang’s theory is to give play to the natural and elegant style of the Southern Zonghua (scholarly paintings). Therefore, Nangzong’s ink and brush became the core of Chinese painting, making its performance get rid of the shackles of writing and maximizing the moral cultivation and ideological realm in his paintings. Therefore, Dong Qichang said that even today, the creation of contemporary Chinese landscape painting and even the development of contemporary art still have very important practical significance.