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在中国绘画史上,明代是花鸟画发展进程中具有转折意义的时期。此时的院体花鸟画在继承两宋院体传统风格的基础上,又受到了明初浙派的影响,呈现出许多具有时代气息的新的绘画面貌。然而,在过往的绘画品评中,崇野逸、笔墨、自由的风尚对明代院体花鸟画一直贬低压抑,致使长期以来只能在绘画史中找到相关文字资料。本文重点以“明代早期”为界,探究院体花鸟画的在“特殊”的历史背景下形成的艺术风格、代表人物及对后世的影响。
In the history of Chinese painting, the Ming Dynasty was a turning point in the development of flower and bird paintings. At this time, the flower-and-bird painting of the hospital inherited the traditional style of the two Song dynasties and was influenced by the Zhejiang school in the early Ming Dynasty, presenting many new paintings with the flavor of the times. However, in the past painting critics, Chongyouyi, pen and ink, and free style always depreciate and suppress the flower and bird paintings in the Ming Dynasty courtyards, resulting in the fact that the relevant textual information can only be found in the history of painting for a long time. This paper focuses on the “Early Ming Dynasty” as the boundary, explores the artistic style, representative figures and the influence on future generations of the flower and bird paintings in the hospital under the historical background of “special”.