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山水画经过唐宋元明近千年的发展,到清代已形成了巨大的传统重负。石涛时代,摹古之风盛行,而石涛在《苦瓜和尚画语录》中提出首章《一画章》开篇提出要“立一画之法”。“一画”作为石涛独创的美学概念,蕴涵了丰富的美学思想,是石涛画论体系中的精神内核,并将“一画”确立为绘画的本根或本源。石涛创作了无数的精劲秀逸之笔,奇气异采横溢的作品,他独树一帜的艺术风格深深的影响了后世。他的美学思想具有极强的整体性和体系性,力倡画家面向生活,师法自然,对后世力图变法求新的画家有重要影响,也为开创中国绘画新纪元奠定了深厚的基础。
Landscape paintings through the development of the Tang, Song, Yuan and Ming nearly a thousand years, to the Qing Dynasty has formed a huge traditional burden. Shi Tao era, the prevalence of Mogu prevail, and Shi Tao in the “bitter gourd monk quotes” put forward the first chapter, “a chapter” at the beginning of the proposed “legislation”. As an original aesthetic concept of Shi Tao, “A Painting ” implies a wealth of aesthetic ideas and is the spiritual kernel in Shi Tao’s theory of painting and establishes “one painting ” as the root or origin of painting. Shi Tao created countless Jing Jin Xi Yi’s pen, strange and colorful works, his unique style of art has a profound impact on future generations. His aesthetics is highly integrated and systematic. He advocated painters’ life-oriented and teacher-law nature, which had an important influence on the artist who wanted to change his ways in the later years, and laid a solid foundation for pioneering a new era of Chinese painting.