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“作画难,而识画尤难。天下作画者多矣,而识画者几人哉?”这是清初大画家龚贤(1619-1689年)在他去世前一年所作山水册的跋文。这既是挑战,也是慨叹:因为,尽管他在艺术史和理论方面的渊博知识极大地丰富了作品的内涵,但是仍然很少有人能完全理解这位文人的精湛画艺。在明代大画家董其昌(1555-1636)的理论和实践占主导地位的那个世纪里——董其昌强调保守的笔法并据此建立艺术传统,这种理想为正统派画家所信奉,他们直接得到清廷的支持。而龚贤坚持不懈地追求个人风
“It is difficult to draw, but drawing is especially difficult. How many artists in the world are carrying out the painting, and how many people are painting?” This is the postcript of the landscape volume made by Gong Xian (1619-1899), a great painter in the early Qing dynasty, . This is both a challenge and a lament: for although his profound knowledge of art history and theory has greatly enriched the content of the work, few still fully understand the artist’s superb artistry. In the century in which the theory and practice of the great painter Dong Qichang (1555-1636) dominated the Ming dynasty, Dong Qichang emphasized the conservative brushwork and established art tradition accordingly. This ideal was espoused by the orthodox painters who directly obtained the Qing court support. And Gong Yin unremitting pursuit of personal style