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本文借对《梦境图》图式思维的探讨,比对清初画坛的仿作与临作现象,得以一窥古典母题(如“辋川图”题材)在中国绘画中的稳定性,而这种稳定性正是中国绘画生态得以恒定延续的关键所在。由此笔者认为,20世纪以来的西方视觉模式遣成的国人审美观念的错位,促使人们在观照传统艺术的时候,往往会忽略视觉立场的先验思维与传统艺术历史情境的不对应性,这也正是20世纪以来,学界对明清绘画提出苛刻批评的根源所在。
In this paper, we discuss the schemata of “dream map” in comparison with the imitation works and temporary works in the early stage of the Qing dynasty, and get a glimpse of the stability of classical motifs (such as the theme of Wang Chuan Tu) in Chinese painting , And this kind of stability is the key to the constant continuation of the Chinese painting ecology. Therefore, the author believes that the dislocation of aesthetic conception of the Chinese who was transferred from the western visual mode since the 20th century urges people to ignore the inconsistency between the prior thinking of the visual position and the historical situation of the traditional art when they look at the traditional art. It is also the root of harsh criticism made by academics in the Ming and Qing dynasties since the 20th century.