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“画山水有体,铺舒为宏图而无余:消缩为小景而不少。”郭熙《林泉高致·山水训》中的山水论述,除了经典性的“三大”、“三远”说之外.于此更揭示并总结了他在山水画创作中所谓的“宏图与小景”一体两面、双关并存的规范法则与理念。其中“宏图”一说与郭熙典范性的《早春图》等一类巨碑式山水的实践息息相关而广为人知;然而郭熙的“小景”的理念,究竟为伺?学者固于学界既有的知识建构,至今未曾有所论述;即便郭熙于《林泉高致》的画题篇中曾经明确的以《怪石平远》与《松石溅扑》两则实例进一步
“Painting landscape has body, shop Shu grand ambience: shrinking for the small and a lot. ” Guo Xi “Lin Quan Gao Shan Shanshuai” in the landscape discussion, in addition to the classic “big three” And “Three Far-sighted”, which further reveals and summarizes the norms and principles that he co-exists in the so-called “grand plan and minor plan” of landscape painting. One of the “grand plans” is closely related to the practice of Guo Xi’s exemplary “early spring map” and other great monument-style landscapes. However, Guo Xi’s concept of “little sceneries” The existing knowledge construction in the academic circle has not been discussed so far. Even if Guo Xi has explicitly stated the two examples of “Guiping Pingyuan” and “Turquoise and Splash” in the painting of “Lin Quan Gao Zhi”