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以“畅神”功能观为主导的山水画在魏晋时期产生以后,经过隋唐及宋元历代的发展,技法的丰富和基本完备,促使了明清时期山水画呈现出流派纷呈的局面。明代中期继浙派以后,吴门、松江诸流派远法两宋,兼取元四家。董其昌力倡南宗画法,影响广泛,致清前期四王、四僧画法成为主流,一时流风被世。本期刊发中国艺术研究院藏清雍正至乾隆年间蔡嘉、钱载、黎简等人山水画作品,或承浙派、或宗吴门,虽不比肩楷范,但反映了这一时期山水画的多样风貌。 主持人/榆堂
After the appearance of Wei and Jin Dynasties, the landscape paintings dominated by the concept of “Smooth God”, after the development of the Sui, Tang and Song and Yuan dynasties, the richness and completeness of techniques, prompted the landscape paintings in the Ming and Qing Dynasties to present a colorful scene. After the Ming Dynasty, following the Zhejiang school, Wumen and Songjiang schools were far from the Song Dynasty and four yuan. Dong Qichang advocated the South Zong painting method, a wide range of influence, to clear the early four king, four monk painting method to become the mainstream, temporary flow of the world. This issue is published in the Chinese Academy of Art Qing Emperor Yongzheng to Qianlong years Cai Jia, Qian Zai, Li Jane and others landscape painting works, or by the Zhejiang school, or cases Wu door, though not shoulder to shoulder exemplary, but reflects the landscape paintings of this period Diverse style. Host / Yu Tong