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人物画发展到元代,逐渐出现下滑状态。其实早在北宋中期,郭若虚就有佛道、人物、仕女“近不及古”的看法。南宋时期,随着士大夫画及禅画的兴起,宫廷画开始走向抒情化。人物画逐渐与肖像画分工,而与山水画合流,如张渥的《瑶池仙庆图》、卫九鼎的《洛神图》等。而肖像画渐渐向行业化发展,并日益转向民间。风俗画与故事画发展到元代,在南宋的风格与形式上,更趋向于小品化与精致化。而这种风尚,与马、夏的大刀阔斧一样,与
Figure painting development to the Yuan Dynasty, gradually decline state. In fact, as early as the middle of the Northern Song Dynasty, Guo Ruoxu Buddha, Taoist figures, ladies, “almost less than the ancient” view. Southern Song Dynasty, with the rise of literati painting and Zen painting, palace painting began to lyrical. Figure painting and portraits gradually division of labor, and the confluence of landscape painting, such as Zhang Othello “Yao Chi Xianqing map” Wei Jiuding “Luo God map.” The portrait gradually to the development of the industry, and increasingly turning folk. The genre painting and the story painting developed to the Yuan Dynasty. In the styles and forms of the Southern Song Dynasty, it tends to be miniaturized and exquisite. And this style, and horses, summer’s drastic, and