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以山川自然为主要描绘对象的中国画山水画艺术,在中国有着悠久的历史和深厚的基础。在中国最早的山水画论《画山水序》中,南朝画家宗炳提出“山水以形媚道”、“披图幽对,坐究四荒,余复何为哉?畅神而已”等山水美学思想。经过千余年的发展,中国山水画逐渐形成了自己独特而完备的美学体系。宋元山水画在创作上所取得的辉煌成就,更使其成为中国绘画发展历程中的一座难以逾越的高峰。面对中国山水画如此辉煌的成就,如何在新的时代语境下继承并发展传统绘画成为当代中国画画家所面临的首要问题。新中国成立之初,为了突破清代以来山水画创作陈陈相因、一蹶不振的困境,一批山水画家大胆走向生活,通过贴
The art of landscape painting of Chinese painting, which is mainly depicted by mountains and nature, has a long history and profound foundation in China. In China’s earliest landscape painting theory “landscape painting”, the Southern painter Zong Bing proposed “Landscape to shape Mei Tao ”, “Phi figure quiet pair, sit in the four shortage, Yufu what is Zai? Smooth God only ” and so on Landscape aesthetics. After more than a thousand years of development, Chinese landscape painting gradually formed its own unique and complete aesthetic system. The brilliant achievements made by the Song and Yuan Dynasties in their creation have made it an insurmountable peak in the development of Chinese painting. Faced with such brilliant achievements of Chinese landscape painting, how to inherit and develop traditional painting in the context of a new era has become the most important issue for contemporary Chinese painters. At the beginning of the founding of New China, in order to break the dilemma of Chen Chenxiang, a landscape painter, since the Qing Dynasty, a group of landscape painters boldly went to life,