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相对于中原和江浙地区,福建的文化开发比较晚,在交通不便的古代,地理上的偏远和山水的阻隔无疑是难以逾越的障碍,所以在唐代以前,福建文化似乎一直乏善可陈,绘画亦然。至宋代情况有所改变,福建绘画开始在中国美术史上占据一席之地,出现了惠崇、陈容、郑思肖等名家。明清是福建绘画的高峰时期,此地名家辈出,影响遍及全国,并不弱于素来文化发达的江浙地区。明代初期征召画家供奉内廷,福建籍画家所占比重远远超过其他地区,明太祖洪武至神宗万历年间,福建籍值殿供奉的画家达22人之多1,其中边景昭、李在、周文
Relative to the Central Plains and Jiangsu and Zhejiang provinces, Fujian’s cultural development is relatively late, in the ancient times of traffic inconvenience, geographical remoteness and landscape barrier is undoubtedly an insurmountable obstacle, so before the Tang Dynasty, Fujian culture seems to have been lackluster, painting, of course . The situation changed to the Song Dynasty, Fujian painting began to occupy a place in the history of Chinese art, appeared Hui Chong, Chen Rong, Zheng Sizhao and other famous. Ming and Qing Dynasties is the peak period of Fujian painting, famous here, affecting all over the country, is not weaker than the ever-developed Jiangsu and Zhejiang. In the early Ming Dynasty, the number of painters recruited by the painters in the Inner Court and in Fujian Province far exceeded that of other regions. During the period from Hongwu to Shenzong in the Ming Taizu, the number of painters dedicated to the temple in Fujian was as high as 22, with Bian Jingzhao, Li Zai and Zhou Wen