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中国山水经两宋诸大家的发展,元朝四大家(黄公望、王蒙、倪瓒、吴镇)继承衣钵,掀起了明、清两代的宗派洪流,如吴门的文、沈、唐、仇(文徵明、沈周、唐寅、仇英),浙派的戴、张、蓝(戴近、张平山、蓝英),加上稍后的金陵八家(龚贤、樊圻、高岑、邹喆、吴宏、叶欣、胡慥、谢荪),娄东四王(王镒、王时敏、王翠、王原祁),蔚为大观。清初,四王画派竭力提倡复古,排斥了对大自然本身的探索,单纯追求笔墨。此时的四大沙门
The development of the Chinese landscape by all the people in the two Song dynasties inherited the mantle of the four great masters of the Yuan Dynasty (Huang Gongwang, Wang Meng, Ni Zan, Wu Zhen) and set off the sectarian floods of the Ming and Qing dynasties such as Wen, Shen, Tang and Qiu (Wen Zhengming, Shen Zhou, Tang Yin and Qiu Ying), Dai of Zhejiang School, Zhang and Lan (Dai Jin and Zhang Pingshan, Lan Ying), and the later Jinling Eight (Gong Xian, Fan Ying, Gao Cen and Zou Zhe) , Wu Hong, Ye Xin, Hu Xuan, Xie Sun), Lou Dong four kings (Wang Wei, Wang Shimin, Wang Cui, Wang Yuan Qi), Wei is Grand. In the early Qing Dynasty, the Four Kingdoms School endeavored to promote retroism, excluding the exploration of nature itself and simply pursuing ink and brush. At this time the four major Salmonella