论文部分内容阅读
一、“仿古”相关问题简述(一)问题的提出清初正统派(以“四王”为代表)的绘画创作以“仿古”为特色。这种以“仿古”为特色的创作手法,可以追溯到明代中期。在以沈周(1426—1509)为首的吴门四家的倡导下,“仿古”手法从初学者入门的学习法,转变为画家的创作法,从画家的个体行为转变为群体行为。经过董其昌(1555—1636)、“四王”等人的大力倡导,仿古风气蔚然成为画坛主流。
First, the “antique” a brief description of the issues (A) raised the issue Early Qing orthodoxy (to “Four Kings ” as the representative) of the painting to “antique ” features. This kind of creation technique featuring “antique” can be traced back to the middle of the Ming Dynasty. Under the advocacy of the four Wumen headed by Shen Zhou (1426-1509), the technique of “antique” changed from a beginner’s learning method to a painter’s method of creation, changing from individual behavior of painters to group behavior. After Dong Qichang (1555-1636), “Four Kings ” and other people’s advocacy, antique style has become the mainstream of the painting scene.