论文部分内容阅读
荆浩是唐末五代人,隐居在太行洪谷,自号洪谷子,是中国山水画历史上重要的山水画家与理论家,他的作品及绘画理论对中国山水画的发展产生了很大的影响。因为山水画在唐开元前后虽已经大体完成,但山水画终究不是当时绘画的主流,从唐《全唐文》卷三百二十四的王维《为画人谢赐表》看,当时绘画主流是以人物画为主。其真正奠定中国山水画的崇高地位并打开北宋后千年之绘画局面的,荆浩是承前启后的关键人物。他的画论《笔法记》,是对顾恺之的“传神论”、宗柄的“畅神说”、谢赫的“六法论”的发展与完善,对中国山水画理论做了更深层次的发展。
Jing Hao is the late Tang and Five Dynasties, seclusion in the Taihang Hong Valley, from the number Hong Millet, is an important landscape painter and theorist in the history of Chinese landscape painting, his works and painting theory has had a significant impact on the development of Chinese landscape painting. Because landscape painting was largely completed before and after the opening of the Tang Dynasty, the landscape painting was not the mainstream of painting at that time. From the Tang Quanzong volume of three hundred and thirty-four Wang Wei, “For the Artist Xie Table,” the painting was based on the characters Painting-based. It truly lay the lofty status of Chinese landscape painting and opened the painting scene in the millennium after the Northern Song Dynasty. Jing Hao is the key figure in the past. His theory of brushwork in writing is the development and perfection of Gu Kai-zhi’s “Theory of Transcendence”, “Tantra” and “Theory of Six Legalizations” by Xie He and his theory of " A deeper development.