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江南是被限定的。跟江北比,跟北方比,跟中原地区,或者广东、福建的亚热带比,“江南”是个被文化限定的词。从先秦时代的吴国、越国开始,它的农耕文化、城镇建筑等美学,经过好几世代的叙述,变成高度成熟的文化。元明清三代,最重要的几个画家都是江南人,文化的符号感很鲜明,在世界范围内,代表中国文化,尤其是宋以后的中国文化。宋以前是北方的、黄河流域的文化;南宋后,江南文人画逐渐形成一个美学的核心;元末至整个明代,是最辉煌的时期。民国初年,新兴美术运动的主将,好几位都是江南人。过去的60年,随着国家的变化,它曾经一度边缘化。可看的画家很有限了,但在这个时代无疑明义老师是具有代表性的以创作江南水乡为主题的画家。——摘自陈丹青《桥:江南的记忆》
Jiangnan is limited. Compared with Jiangbei, compared with the north, with the Central Plains, or Guangdong, Fujian subtropical than “Jiangnan” is a culturally defined words. From the pre-Qin era Wu, Vietnam, its agrarian culture, urban architecture and other aesthetics, after several generations of narrative, into a highly mature culture. The three generations of Yuan, Ming and Qing Dynasties, the most important artists are all Jiangnan people. The symbol of culture is very clear, representing the Chinese culture in the world and especially the Chinese culture after the Song Dynasty. Before the Song Dynasty was the culture of the north and the Yellow River. After the Southern Song Dynasty, the literati paintings of the Jiangnan gradually formed the core of aesthetics. From the late Yuan Dynasty to the entire Ming Dynasty was the most glorious period. In the early Republican era, the main masters of the emerging art movement were several Jiangnan people. In the past 60 years, as the country changed, it was once marginalized. The painter can be seen very limited, but in this era is undoubtedly the Mingyi teacher is a representative to create Jiangnan Water Town as the theme of the painter. - From Chen Danqing “Bridge: Jiangnan memories”