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“四王”绘画以“摹古”为重。他们在摹仿古人时,以整饬梳理古人的绘画形式为要,囊括了山水画中的布局、笔法、墨法及设色之道,并完成了相关的画学理论,成就了具体而微的绘画程式。其后,实难可觅与之相望肩项之辈。其中,最接近“四王”“摹古”客观事实的是“四王”对前贤的山水形态与间架布局的摹仿,即多学前人的山水画布局。简言之,“四王”以“局部”摹仿为主,提取其摹仿对象的典型图像特征并进一步化解其图像风格,并不断强化这一图像风格。整体比较,王时敏、王原祁祖孙俩以貌合解构为主,其摹仿对象为黄公望。王鉴与王翚以合作重组为要,以巨然为摹仿中心,在山水布局中既有貌合神似的趋同性,又有重组构建的创新性,重开山水画布局形式。而至其笔法、墨法、设色之道甚至其绘画理论,“四王”在“摹古”中更多的是整饬与重开生面,化境而创新,此将另辟专文论述。
“Four Kings ” paintings to “M ” as the most important. In their imitation of the ancients, they summarized the painting style of the ancients in their entirety, encompassing the layout, brushwork, ink and color-setting in landscape painting, completed the related painting theory and achieved concrete and detailed painting programs. Since then, the real hard to find the shoulder with the generation of generation. Among them, the objective truth closest to “four kings ” “ancient ancient ” is the imitation of the four king ’s landscape form and shelf layout of the predecessors, that is, the landscape layout of multi-predecessors. In short, “Four Kings ” is mainly based on “local ” imitation, extracting the typical image features of its imitation object and further dissolving its image style, and constantly strengthening the image style. The overall comparison, Wang Shimin, Wang Yuan and Zizu Sun Liang to solve the main structure, the object of imitation Huang Gongwang. Wang Jian and Wang Jian reorganization as the goal to take giant as an imitation center in landscape layout in both the appearance of similar convergence, but also the construction of the reorganization of innovation, re-opened the landscape layout. And to its brushwork, ink, color and even his painting theory, “Four Kings ” in the “Old and Ancient ” is more to rectify and re-open the face of the environment and innovation, which will open up another Article discussion.