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清朝,几百名画家共同居住在北京的皇家宫殿里。他们的作品被当时清朝社会大部分人所欣赏,并且得到他们积极地收集,而这些人对作品和作品创作人的时代评价倒一直不是很热心。原因是多方面的,但正是这样的评论方式忽略或勉强地接受了这样一个大型画家和作品群的存在。清朝宫廷绘画一直被定型为由无灵感的雇佣画家完成的大型的、晦涩的和乏味的作品。但是,最近的研究表明,这些作品实际比过去所定义的有更多的风格变化,质量更好。同样,宫廷中的画家在他们的审美感受力、社会地位和背景上有着本质上的区别。为了弄清与清朝早期绘画相联系的个性、
In the Qing Dynasty, hundreds of painters lived together in Beijing’s royal palace. Their works were admired by most of the people in Qing Dynasty at that time and were actively collected by them, and these people have not been very enthusiastic about the epoch of works and works creators. The reasons are many, but it is this way of comment that overlooks or reluctantly accepts the existence of such a large artist and group of works. The court paintings of the Qing Dynasty have been characterized as large, obscure and tedious works by unprepared hiring painters. However, recent studies show that these works actually have more stylistic changes and are of better quality than what was defined in the past. Similarly, the painters in the court have essentially different aesthetic tastes, social positions and backgrounds. In order to understand the character associated with early Qing painting,