论文部分内容阅读
在我国绘画历史上,凡有杰出成就的画家,总是十分重视“师造化”,即深入生活面向大自然的;凡专事摹仿、因袭的,则总是把艺术引向没落衰亡之途。唐代山水画家张璪答毕宏曰:“外师造化,中得心源”(《历代名画记·张璪传》)。宋代《溪山行旅图》的作者范宽“喜画山水,始学李成,既悟,乃叹曰:‘前人之法,未尝不近诸物。吾与其师人者,未若师诸物也;吾与师于物者,未若师诸心,于是
In the history of Chinese painting, painters who have outstanding achievements always attach great importance to “making good fortune”, that is to say, deepening their life faces the nature; those who specialize in imitation and follow the course always lead the art to the way of declining and declining. Zhang Shao, a landscape painter of the Tang Dynasty, answered Bi Hong, saying: “The good fortune of the foreigner, the source of good fortune in the past” (“History of Famous Paintings · Zhang Jian Biography”). Fan Kuan, the author of the song “Traveling on a Mountain Road” in Song Dynasty, likes to write landscapes and begins to learn Li Cheng. He not only realized but sighs saying: ’The forefathers’ Things also; I and teacher in the object, not as teachers, so