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沈宗骞,清乾嘉时期(1736—1820)书画家、理论家,浙江吴兴(今湖州)人,字熙远,号芥舟,又号研湾老圃,工书画,著《芥舟学画编》。沈宗骞所处的清乾嘉时期,是介于清初和清末繁盛期之间的相对萧条期,以他为例的承袭着传统画血脉和意旨的维护者们,纷纷试图用创作书画作品的“实践”和著书立说的“理论”双方面来达成他们“师古”指南、“以绍正传”的拯救理想,但最终也未能改变清乾嘉时期画坛日趋衰落的局面。同时,清乾嘉时期倡导复古的传统派书画家和理论家也逐渐在历史中销声匿迹,未能得到应有的认识和研究。通过研究和分析历史文献和画作实物,对沈宗骞生平进行考证,试图爬梳、整理出沈宗骞的生平实况和历史状态,抛砖引玉,为日后学者深入研究沈宗骞以及构筑清中期画坛提供基本的信息和资料。
Shen Zongqian, Qing and Jia (1736-1820) calligraphers, theorists, Zhejiang Wuxing (now Huzhou) people, the word Xi Yuan, number mustard, “. The period of Qing Emperor Qianlong in which Shen Zongqian was located was the relative depression between the early and late Qing dynasties. The defenders who inherited the traditions and traditions of his attempts, for example, tried to use the ”Practice“ and ”book theory“ to achieve their ”teacher “ guide, ”to Shaodong Chuan " save the ideal, but in the end also failed to change the qing qian jia period The decline of the painting scene. At the same time, traditional calligraphers and theorists advocating retroism during the Qing and Jiaxu periods also gradually disappeared in history and failed to get the due recognition and research. Through the research and analysis of the historical documents and paintings, the textual research on the life of Shen Zongqian, trying to climb the comb, sorting out Shen Zongqian’s livelihood and historical status, and offering some basic information and materials for future scholars to study Shen Zongqian deeply and to build the mid-Qing painting festival.