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自古以来“渔父”作为中国绘画史常见的意象为历代的画家所喜爱,被各朝画家赋予了隐逸、闲适、孤傲、苦闷等诸多的审美意象,归结来说历代画家塑造的“渔父”形象大多是隐世,隐逸代表着一种隐居。到了清代“渔父”的形象已不再仅仅是局限于表达文人、士大夫的隐逸之情,而是带上了富有象征性的意味,有着祝福吉祥的意愿,既可以满足购画者的快乐,又可以满足画家的物质需求,让以个性化的渔父具有崭新的生命活力。本文由多张黄慎的渔父图入手解读他所塑造的“渔父”形象的入世性。
Since ancient times, “Fisherman”, as a common image in the history of Chinese painting, is loved by the painters of all ages and endowed by the painters of the various dynasties with many aesthetic images of seclusion, leisure, arrogance and depressing. In sum, Fisherman “image is mostly hidden, seclusion represents a seclusion. By the Qing dynasty, the image of ”fisherman“ was no longer confined to expressing the seclusion of literati and literati, but rather symbolizing the rich symbolic meaning of blessing auspicious wishes, Happiness, but also to meet the material needs of painters, so that a personalized fisherman with a new life vitality. This article by a number of Huang Shen fisherman figure to start with his interpretation of the ”fisherman " image of the WTO accession.