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明代山水画家董其昌在中国绘画史上具有深远影响,对其世人褒贬不一,或针对其迷信古人,偏重形式,标榜门户及家庭出身,否定他的艺术理论;或从“文人画”角度予以吹捧,而忽略他的缺点。本人就董其昌在山水画史上的影响提出一点看法。众所周知,自明代开始,中国画进入—个流派纷呈,时风日转的动荡局面,除了工商业发达、经济繁荣、画家群集以及政治党争和文学宗派之风的外部影响因素外,中国画区别于其他民族绘画已取得本体性的高度成熟及至升华,不能不说是尤为重要的原因。
Dong Qichang, a landscape painter in the Ming Dynasty, had a far-reaching influence on the history of Chinese painting. He criticized his world differently, or criticized his ancients for being superstitious, preoccupied with forms, advertised portals and family origins, denied his artistic theory or from the perspective of literati painting Touted, while ignoring his shortcomings. I have a little opinion on the influence of Dong Qichang in the history of landscape painting. As we all know, since the Ming Dynasty, Chinese painting has entered into a turbulent situation characterized by flourishing trends and changing times. Apart from the external influence factors of industrial and commercial development, economic prosperity, artists’ groups, political parties and literary sects, Chinese painting is distinguished from other national paintings It has been particularly important for us to have achieved a high degree of maturity and sublimation of our noumenon.