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林纾(1852—1924).字琴南.号畏庐,别署冷红生.室名春觉斋、烟云楼.福建闽县(今福州市)人,是近代中国著名的翻译家、古文家、诗人和画家。新文化运动前后.康有为、陈独秀等一批颇有影响力的学者高呼“中国近世之画衰败极矣”.引发一场对文人画命运产生深远影响的论争。同一时期.林纾撰写《春觉斋论画》.试图从传统自身寻求中国画发展与变革之道。一、以北宗之法并入南宗.反对门户之见明代书画家董其昌以弹喻画,提出“南北宗论”.以禅宗南北二派“顿悟”与“渐悟”两种修行方式勾勒出我国自唐以来山水画两大发展脉络.并有明显的崇南抑北倾向。董其昌对晚明及整个清代中国画坛产生决定性影
Lin Shu (1852-1924). Ziqin South. No. Wei House, the Department of Leng Hongsheng. Room name Chunjuezhai, Yun Yun House. Fujian Min County (now Fuzhou) people, is a modern Chinese famous translator, essayist Poet and painter. Before and after the New Culture Movement, Kang Youwei and Chen Duxiu, a group of influential scholars, shouted: “The decline of Chinese modern painting is extremely impenetrable.” This triggered a controversy that had a profound impact on the fate of scholars. In the same period, Lin Shu wrote “Chun Jue Zhai’s Painting”, attempting to seek the way of traditional Chinese painting development and change from the tradition itself. First, the Northern Zongzhi law into the Southern Zong. Opposition to the portal see Ming dynasty calligrapher Dong Qichang painted with a metaphor, put forward “Northern and Southern Sect Theory.” To the Zen North and South factions “Epiphany ” and “Awakening ” two kinds of practice The way outlines the two major development contexts of landscape painting in our country since the Tang Dynasty, and it is obvious that Chongnan holds the north tendency. Dong Qichang had a decisive influence on the painting scene in the late Ming and throughout the Qing Dynasty