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随着南宋政权的灭亡,蒙族统治的建立,元朝成为民族矛盾十分尖锐的时期。元朝实行民族压迫政策,不设宫廷画院,使得许多汉族文人、画家仕途无门,他们大多不问政治,处世消极,追求归隐山林的生活,并借诸山水、花鸟画排解胸中抑郁,沉迷于笔墨绢素之间。在这些文人画家的影响下一些职业画家也借用他们的方法作画,由此形成了一代新风,使得文人画成为元朝画坛的主流。 元代的文人画家秉承宋代文人画家苏轼、米芾的艺术思想,将绘画作为抒写自我心境的工具。他们逐渐远离南宋追求自然真趣的画风,而更加注重笔墨意
With the demise of the regime of the Southern Song Dynasty and the establishment of Mongolian rule, the Yuan Dynasty became a very sharp period of ethnic conflicts. Most of the Han nationality literati and painters have no official career. Most of them do not ask politics, they are passive in life and pursue the life of returning to the mountains and forests. Between the silk. Under the influence of these literati painters, some professional painters borrowed their methods to paint, thus forming a new generation of the genre, making literati painting the mainstream of the painting circles in the Yuan Dynasty. The literati painters in the Yuan Dynasty inherited the artistic thinking of the literati painters Su Shi and Mi Fu of the Song Dynasty and took painting as a tool to express their own mood. They are gradually moving away from the Southern Song Dynasty in pursuit of the natural style of painting and pay more attention to the meaning of ink