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中国古代山水画曾一度以其严谨、高雅、工整与我们真切的生活发生了一定的差距,在严谨、工整的技法笔墨,甚至有点程式化的规律下,让人背负数千年的辉煌历史行进,这是一段难以逾越的距离。在中国山水画的萌芽阶段,隋唐时期,比如展子虔的《游春图》、李昭道的《游春图》。到中国绘画的鼎盛时期的宋代,比如范宽的《溪山行旅》、李成的《读碑窠石图》等,被历史流传下来的很多佳作中,很多都以其恢弘严谨的图式和内容震撼人心,让人觉得山水是一种悠远辽阔的向往,抒发与天地同生死的生命理想。但似乎又与很多人的朴实生活发生了距离。充满情、景、趣的作品总会是耐人寻味的。尤其是真实的情感、景物和生活趣味,似乎更容易打动我们平凡的心境。更能让人在
For a time, the ancient Chinese landscape painting took its own strictness, elegance and neatness and our real life took a certain gap. Under the rigorous and neat techniques and even a little stylized law, people are carrying the glorious history of thousands of years. This is an insurmountable distance. In the embryonic stage of Chinese landscape painting, the Sui and Tang dynasties, such as the Lunar New Year Tour of Qian’s show, and the Spring Tour of Li Zhao. By the time of the Song Dynasty in the heyday of Chinese painting, such as Fan Kuan’s “Trip to the Hill,” Li Cheng’s “Reading of the Stone Tablet,” many of the masterpieces that have been handed down by history are, by their grand and rigorous schemata and Content is stirring, people think that landscape is a distant longing, to express the life and death with the world of life and ideals. But it seems to be a distance from the simple life of many people. Full of love, scenery, interesting work is always intriguing. In particular, the real emotions, scenery and lifestyle, it seems easier to move our ordinary mood. More people at