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本文在中西比较视野下,由职业画家仇英在《蕉荫结夏图》题写“戏作”、文人画家赵孟頫在《二羊图》和《溪凫图》中题“戏为写生”等潜含矛盾而又遥相呼应的案例出发,由画家的身份、画作的风格两条线索深入研究了绘画史中“戏作”姿态产生之初的实际意义。最后分析了“戏作”姿态对中国古代绘画发展造成的三点重大影响,而这些影响也恰好构成了中国古代绘画相对西方绘画的独有特色,囊括了中西绘画形式层面差异的根源。
This article in the comparative perspective of China and the West, by the occupation painter Qiuying in the “banana shade knot Xia Tou” wrote “opera”, the literati Zhao Mengfu in the “two sheep” and “brook” in the title “And other latent contradictions and echoes the case starting from the painter’s identity, style of painting two clues depth study of painting history ” opera “gesture at the beginning of the actual significance. Finally, it analyzes the three major influences caused by ”Opera " gesture on the development of ancient Chinese painting, and these influences also form the unique characteristics of Chinese ancient paintings relative to Western paintings, which include the root causes of the differences in the forms of Chinese and Western paintings.