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龚贤作为明末清初“金陵八家”的代表人物,关于他是否属于“金陵八家”的争论,已不是影响他成为一代宗师的因素。他深受文人画思想的影响,是其早期山水画艺术的主要师承,也是他创作的根基。但他又能够摆脱文人画的思想束缚,上追五代北宋山水画之意境、笔墨技法及注重深入自然观察写生的传统,将元画意趣和宋画理学融会贯通,创作出了浑沦雄厚、幽邃苍润的绘画作品。完成了从“白龚”到“灰龚”再到“黑龚”的风格转变。他是站在整个山水画艺术发展的高度,既有对南派艺术的学习,又有北派艺术的影响,继往开来,开创出一个新的时代。
As a representative figure of “Jinling Eight” in the late Ming and early Qing dynasties, Gong Xian is no longer a factor influencing his becoming a master of the generation because of whether or not he belongs to the “Jinling Eight Schools”. He is deeply influenced by the thought of literati painting and is the main teacher of his early landscape painting art. It is also the foundation of his creation. However, he was able to get rid of the shackles of literati painting and chase the artistic conceptions of Northern Song Dynasty landscape paintings in the Five Dynasties, his techniques of brushwork and writing, and the tradition of paying attention to in-depth observation of sketches of nature. Painting works. Completed from the “White Gong” to “Gray Gong” and then to “Black Gong” style changes. He stands at the height of the art development of landscape painting. He not only learned the art of the Southern School but also influenced the art of the Northern School. He has created a new era in the future.