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三、结论董其昌的理论事实改变了中国山水画的内核,在他之前,正如他自己说:“李思训写海外山,董源写江南山,米元晖写南徐山,李唐写中州山,马远、夏珪写钱塘山,赵吴兴写霅苕山,黄子久写海虞山……”说明中国山水画的本源,是不同地形地貌在画家笔下的客观反映,画家根据自然风貌归纳、简化,总结出不同的皴法或风格。到了宋元时期,山水画不但发展成熟,而且完成了向各个方向的拓展,明代画家有了足够丰富的图式可以借鉴,创作的服务对象也从
III. CONCLUSION Dong Qichang’s theoretical facts have changed the core of Chinese landscape painting. Before him, as he himself said: “Li Si-xun wrote overseas mountains, Dong Yuan wrote Jiangnan Mountain, Mi Yuanhui wrote Nanxu Mountain and Li Tang wrote Zhongzhou Mountain and Ma Yuan Xia wrote Qiantang Mountain, Huang Zi wrote Yushan Mountain for a long time ...... ”The origin of Chinese landscape painting is an objective reflection of the different terrain and topography by the painter. According to the natural style, the painter summarizes and simplifies Different ways or styles. By the Song and Yuan dynasties, the landscape painting not only matured, but also expanded in all directions. In the Ming Dynasty, the painters had rich enough schema to learn from, and the service objects of creation also changed from