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清代以前,中国画的研习除师徒授受外,一直崇尚两种途径:一是临摹前贤,一是师法造化。二者相互交融,成为绘画入室的不二法门。清代画坛,虽然也沿袭此径,但因清康熙十八年(1679年)由李渔、王(?)编次的《芥子园画传》尽付剞劂,随后各种版本的《芥子园画传》在有清一代广为梓行与传播,大有取代临摹原作之势。由于刻本价格低廉,且数量众多,无论公卿巨贾,还是贩夫走卒,都可一册在
Before the Qing Dynasty, in addition to master and apprentice, the study of Chinese painting has been advocating two ways: First, copy the former Yin, one is the law of good fortune. The two blend with each other and become the only way to enter the room. In the Qing Dynasty, although it followed this path, the “Mustard Garden Painting Biography” edited by Li Yu and Wang (?) In the eighteenth year of Qing Emperor Kangxi (1679) Biography "in the Qing generation Azusa widespread and dissemination, a great alternative to copying the original trend. Due to the low price, and a large number, whether male or female gentry, or pawn, can be a