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由于种种原因,传统人物画早从宋代以后便进入了“今不及古”的式微期。明清的绘画商品化,虽说“金脸银花卉,要讨饭画山水”,但事实上“金脸”的人物画并未真正压过“讨饭”的山水画。它的重新振兴,已是晚清民初海派画坛的景观了。当时海派人物画所赖以升腾变化的传统基础,主要有两路。一路是来自浙江的陈老莲、华新罗传统,以任熊、任薰、任颐为代表;另一路是来自吴门的唐仇和改费的传统,以沙山春、胡三桥、吴友如为代表;此外,还有糅和华新罗和改费的,则
Due to various reasons, traditional portraits have entered the “less ancient” mode since the Song Dynasty. The commercialization of Ming and Qing paintings, although “gold and silver flowers, to discuss rice landscapes,” but in fact the “Golden Face” figure painting did not really over the “begging for rice” landscape painting. Its rejuvenation is already the scene of the Shanghai Art Festival in the late Qing dynasty and early Republic of China. At that time, the traditional basis for the ups and downs of the Shanghai portraits were mainly two ways. All the way from Chen Laolian in Zhejiang Province, Huaxinluo tradition to Ren Xiong, Ren Xun, Ren Yi as the representative; the other way is from Wumen Tang Qiu and the tradition of changing fees to Shashan Spring, Hu Sanqiao, Wu Youru As the representative; In addition, there are also Lee Hsiu Loo and change fees, then