论文部分内容阅读
宗炳的《画山水序》是我国最早的关于山水画的论述。虽然有人认为顾恺之的《画云台山记》较之更早,但大部分论者都以为《画云台山记》所言并非专门针对山水画,因而不能算作是山水画论。《画山水序》出现在我国绘画理论自觉时期,其意义不仅在于丰富了我国的绘画理论,更在于为后世的山水画创作建立了一个富有理想色彩的理论标程。通观《画山水序》全文,其所论并非在于具体而微的方法
Zong Bing’s “Landscape Painting” is the earliest exposition on landscape painting in our country. Although some people think that Gu Kaizhi’s “Yuntaishanji” is earlier than others, most of the scholars think that “Yuntaishanji” does not specifically refer to landscape painting and therefore can not be regarded as landscape painting theory. “Painting landscapes” appeared in the conscious period of Chinese painting theory, whose significance lies not only in enriching the theory of painting in our country, but also in building a rich and idealistic theoretical scale for the later creation of landscape painting. Throughout the “painting landscape” full text, the discussion is not about the specific and micro methods