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幅员的辽阔和悠久的历史,使得中国文化在漫长的发展过程中逐渐呈现出极为明显的地域之分、南北之别。早在六朝时代,即有“北人学问,渊综广博;南人学问,清通简要”之论。这种南北之别,在佛学上则表现为南顿北渐;在文学上,则表现为北重气质,南贵清绮;北倡豪迈,南言清空;在书法上,则表现为“北书以骨胜,南书以韵胜”。正如梁启超先生所指出的:“大而经济、心性、伦理之精,小而金石、刻画、游戏之末,几无一不与地理有密切之关系。”绘画亦复如是,五代山水画刚刚进入其成熟期,即出现了以董、巨为代表的南方山水与荆、关、李、范为代表的北方山水。随着时代的变迁,这种南北的分野不仅没有逐渐消融,反而愈来愈得到加强,进入20世纪后半叶,以巍巍太行为主要表现题材的北派山水以其极具地域性的笔墨风貌与精
The vast and long history of the Chinese people makes the Chinese culture gradually show a distinctive geographical distinction between the North and the South during the long process of development. As early as the Six Dynasties era, that is, “North learning, Yuan comprehensive encyclopedia; South learning, Qing Tong Brief” theory. This difference between North and South, in Buddhism, is represented by the northward movement of Nantun; in literature, it is characterized by the northern heavy temperament and the South Gui Qing Qi; the North advocates boldness and the south is emptied; in calligraphy, the performance is “ North Book to bone wins, South Book to rhyme victory. ” As Mr. Liang Qichao pointed out: “Large and economic, psychological, ethical essence, small and precious stones, portraits, the end of the game, and almost all have a close relationship with the geography.” "Painting is also complex, the Five Dynasties landscape just Into its maturity, that appeared in Dong, giant represented by the southern landscape and Jing, Guan, Li, Fan represented the northern landscape. With the changes of the times, the north-south division has not only gradually melted, but has been strengthened more and more. In the second half of the 20th century, the Northern School Landscape with the main theme of the Taiwei behavior is characterized by its extremely regional style And fine