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中国绘画自肇始以来,几经嬗变,大致在元代出现了一个重要的分野。元朝以前,绘画从具有原始图腾意义的符号纹样逐渐向追求写真的方向推演,及至北宋,臻于高峰。此时的画学各科,模山范水,描影写真,穷尽世间理法,成就百代标程。但到了南宋末年,小朝廷偏安一隅,世道污浊,画人观之于目,痛之在心,笔底追求淡烟轻岚间也生出些许诡怪,绘画一时间囿于形式,停滞不前。可以说,中国绘画的写实追求在南宋已告终结。元代初始,赵子昂高举“崇古”大旗,融汇古今,缘书入画,实则托
Since the beginning of the Chinese painting, several changes have taken place, and an important gap appears in the Yuan Dynasty. Before the Yuan dynasty, the painting was gradually deduced from the symbolic pattern with primitive totem meaning toward the direction of pursuit of pictorial images, reaching the peak in the Northern Song Dynasty. At this point of painting subjects, Fanfan Fan Shui, Shadows photo, exhaustive world of law, the achievement of 100 standard process. However, by the end of the Southern Song Dynasty, the court of the small court turned a corner. The world was polluted and the concept of painting was at its head. With pain in mind, there was also a little strangeness in the pursuit of light smoke and light lanterns in the final analysis. The painting was stagnant at a time. It can be said that the realistic pursuit of Chinese painting has ended in the Southern Song Dynasty. At the beginning of the Yuan Dynasty, Zhao Ziang held high the banner of “Chong ancient”, blending ancient and modern, fate into the painting, but in fact care