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张海良的山水画是在延续明清文人画一脉之途上确立自己的风格的。明代中期开始,沈周等人所代表的吴门画派出现,纠正了浙派画法趋于粗硬的流弊,为明清山水画确立了另一种不同风格的画路,而吴门一流在明代后期为董其昌推至巅峰,清初又由“四王”和“四僧”分立出两种不同类型的画风和境界。张海良的山水画,在法式上主要以沈周为楷模。沈周对历史的主要贡献,一是在总结“元四家”的基础上,进一步确立了文人画的格调和境界,一是否定了浙派笔法粗率的流弊,创立了儒雅温和的文人趣味的笔墨法式。张海良取法沈周,也是出于对沈周山水画中体现出的这两方面特点的崇尚。
Zhang Hailiang’s landscape painting is to establish his own style in the continuation of the pulse of literati in the Ming and Qing dynasties. Since the middle of the Ming Dynasty, the Wu School of Painting, represented by Shen Zhou and others, appeared to correct the disadvantages of the tenacity of the Zhepai School of Painting and establish a different way of painting for the landscape paintings of the Ming and Qing Dynasties. In the later Ming Dynasty, Dong Qichang pushed to the pinnacle of the early Qing Dynasty by the “Four Kings” and “Four Monks” separate two different types of style and realm. Zhang Hailiang’s landscape paintings, mainly in the French Shen Zhou as a model. Shen Zhou’s main contribution to history is to further establish the style and state of the literati painting on the basis of summing up the “Yuan Sijia”. The first is to negate the cumbersomeness of the literary style of the Zhejiang School, . Zhang Hai-Liang Shen Shen Zhou, but also out of the Shen Zhou landscapes reflected in these two aspects of the advocate.