论文部分内容阅读
在文人画的历史上,论宗派,王维是先祖;论技法,董源是坐标;论具体而微的影响,则非黄公望莫属。这是由于,在中国画史上,将文人画“董巨”一脉的水墨蕴藉,发挥至淋漓之境者,唯有黄公望当之无愧。董其昌为南宗画的渊源排宗列次,推王维,举董源,而真正落在现实中寻找精神归属与技法依据的,还是黄公望。时年39岁的董其昌,见到《富春山居图》,
In the history of literati painting, on the sects, Wang Wei is the ancestor; on the technique, Dong Yuan is the coordinates; on the specific and minor impact, the non-yellow public hope. This is because in the history of Chinese painting, Huang Gongwang is well-deserved only for the poetic painting and painting of Dong Ju and his poetic inkry. Dong Qichang is the origin of the Southern Zong painting row order, pushing Wang Wei, Dong source, and really fall into the realities of spiritual ownership and technical basis, or Huang Gongwang. At the age of 39 Dong Qichang, to see the “Spring Fuchun map”