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清初书画鉴藏家笪重光在《画筌》中以境界论画,体现了他对中国绘画精神的独特领悟和表达。他强调,画家须以知识增长与德性修养相结合为根本,以提升人生境界为核心,上承倪云林的重境界传统,下开盛大士、汤贻汾,代表了明清鼎革时期第一流的书画理论家对传统文人画理论的理解和总结,并在某种程度上预示着清代画学的发展方向。笪重光(一六二三—一六九二),字在辛,号重光、江上外史、郁冈居士、始青道人等。江苏句容人。顺治九年(一六五二)进士,顺治十二年(一六五五)
In the early Qing Dynasty, calligraphers and collectors focused on the painting of the realm in “Paintings”, reflecting his unique understanding and expression of the Chinese painting spirit. He emphasized that the painter must base his knowledge on the combination of morality and accomplishment and take the promotion of his life as the core. He inherits the realm of heavy realms of Ni Yunlin, and under the leadership of Sheng Shushi and Tang Yifen, represents the first-rate The theory of traditional scholar painting and calligraphy theorists understand and summarize the theory of traditional scholar painting, and to some extent heralded the development direction of Qing Dynasty painting.笪 heavy light (one six two three - one six nine two), the word in Xin, heavy light, foreign history on the river, Yu Gang lay people, young people and so on. Jiangsu Jurong people. Junji nine years (1652) Jinshi, Junji twelve years (1655)