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中国传统文人画的发展过程中的两次转折可以概括为一次是赵孟頫对唐代的“笔迹工致,意韵幽微”的绘画风格来阻止南宋已开始趋于粗率放纵的水墨写意画的势头。第二次为董其昌反对重笔法而忽视墨法的思想转变,反对画家在用笔上太硬太强的习气,从而更注重讲究墨的用法。由于中西绘画的融合,文人画也发生了变化。
The two turning points in the development of Chinese traditional literati painting can be summed up as follows: once Zhao Meng-fei’s influence on the ink painting of the Tang Dynasty is " . The second time, Dong Qichang objected to rewriting the law but ignoring the change of thought of ink law, opposing the painter’s habit of using the pen too hard and too strong, and paid more attention to the usage of ink. Due to the integration of Chinese and Western paintings, literati painting has also changed.