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一从历史发展的角度看,人物画是较薄弱的一项,不像山水、花鸟那样有一套完整的技术,发展到了一个很高的境界。虽然人物画是出现最早的画种,远在新石器时代仰韶文化的彩陶上就已有人物的图案,而后从战国时期的帛画,到东晋顾恺之、唐代阎立本、宋代李公麟、梁楷、明代陈老莲、清代黄慎,一直到任伯年,一代又一代确也高潮迭起,创造了无数优秀的艺术珍品,积累了丰富的经验,但仔细看也伴随着遗憾和不足。遗憾之一,是对“形”的轻视,文人画和文人画理论对中
From the perspective of historical development, portrait painting is the weaker one, unlike landscapes, flowers and birds that have a complete set of technologies, has developed to a very high realm. Although the portrait painting was the earliest painting of the earliest paintings, there was a pattern of figures on the painted pottery of the Yangshao culture in the Neolithic Age. From the silk painting in the Warring States Period to Gu Kaizhi in the Eastern Jin Dynasty, Yan Libin in the Tang Dynasty, Li Gonglin in the Song Dynasty, Liang Kai, Laolian, Huang Shen of the Qing Dynasty, until Ren Born, generation after generation also climax after another, has created numerous outstanding art treasures, has accumulated rich experience, but a closer look also accompanied by regret and inadequate. One of the regrets is the contempt of “form”, the theory of literati painting and literati painting