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自元代始,“仿”“拟”成为中国画创作的一个重要手段。“仿”“拟”这个绘画现象的出现并不是偶然的,而是有其必然的历史原因,它是“传移模写”发展的一种高级形式。一“传移模写”既作为一个理论形态而出现,也是作为一个实践形态而不断发展的。《画品·序》云:“夫画品者,盖众画之优劣也。”谢赫“六法”论中的每一条,当然也包括“传移模写”,最初都是作为绘画品鉴的标准而出现的。他说:“刘绍祖,善于传写,不闲其思。……时人为之语,号曰移画。然述而不作,非画所先。”刘绍祖以“传写”为特点从而进入了谢赫的品鉴视野,但其中也包含了实践的因素,因为“传写”作用在于“述”。因此,谢赫“传移模写”标准中包含的实践与理论因子,使其随
Since the Yuan Dynasty, “imitation” and “quasi” have become an important means of Chinese painting creation. The appearance of “imitation” and “quasi” painting is not by chance, but has its inevitable historical reasons. It is an advanced form of development of “transfer and copying”. A “transfer model write” both as a theoretical form and also as a practical form of continuous development. “Picture order” cloud: “Fu who draws, cover the public good and bad also.” Sheikh “Six Laws” in each of the articles, of course, including “transfer mode write”, initially as a painting Tasting The standard appears. He said: “Liu Shaozu is good at writing and writing, and he does not mind being idle.” When people speak the language, Her tasting perspective, but it also includes the practice of factors, because “write” is the role of “statement.” Thus, the practice and theoretical factors contained in Sheikh’s “Critique of Metamorphosis” standard go with it