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一万历二十年(1592)四月八日,画家吴彬(约活动于1591-1644)在北京完成了一幅《洗象图》~1(图1)。如果以吴氏晚年成熟的“变形”作风来衡量,那么,这件较早之作,并没有给观者带来奇幻之感——画面上半部的远景高山,无论是造型还是笔墨都透露出画家试图重现自然真实的努力,这明显区别于他最藉以著名的巨幛仙山(图2);画面
Ten Years of Wanli (1592) On April 8, painter Wu Bin (about 1591-1644) completed a “wash picture” ~ 1 in Beijing (Figure 1). If the late Wu’s mature “deformation ” style to measure, then this earlier work, did not give the viewer a fantasy - the upper half of the screen distant mountains, whether it is modeling or ink All reveal that the painter tries to reproduce the true nature of the effort, which is obviously different from his most famous giant immortal mountain (Figure 2); screen