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魏晋南北朝以前,我国关于绘画的言论应该只在先秦典籍中出现过只言片语,而且仅限于被用来诠释儒家正统思想的道德准则,到了西汉少有改观。到了魏晋,突然打开了绘画艺术批评思想的先河,不但对艺术家的外貌内涵进行品藻,针对他们的作品以及其艺术成就有了专门的画论及品评标准,为何在这样一个历史时期会发生这样这样一种变革,这种变化又揭示了艺术与时代之间是怎样一种千丝万缕的关系,值得我们思考。
Before the Wei, Jin and Southern and Northern Dynasties, China’s comments on painting should only appear in the pre-Qin classics for a few words, and they were limited to the moral standards that were used to interpret Confucian orthodoxy. In the Wei and Jin dynasties, a sudden start of the thought of painting art criticized not only the qualities of the artist, but also the specialized painting theory and the evaluation criteria for their works and their artistic achievements. Why did such a history occur in such a historical period? Such a change, this change reveals the relationship between art and the times is a kind of inextricably linked, it is worth thinking about.