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清初“四王”的绘画“摹古”具备集大成开生面的特质。其在“惟求宗旨,何论宋元”集大成的画学思想总纲中,以摹仿的名义拓展推进山水画的绘画程式为主旨,构成了解析重组的丘壑布局之法、推而至于别家的山水画笔法形式、淡中取浓,以笔见墨的山水画五墨之法和用色如用笔用墨的山水设色之法。完成了集大成自出机轴而开生面的绘画形式,其在特定的历史环境下,“熟后熟”的山水画绘画形式发展到王原祁时已一统为合“士气”与“作家”于一格。他们以集体的力量,成就了“可学可就”的绘画规范,有效地规模了山水画程式,将托古改制的本义蜕变为构建后学法门的山水画技法程式,不惟以“复古创新”为要。
Early Qing Dynasty “Four Kings ” painting “G & C ” has the characteristics of a grand opening. In its general purpose of painting and calligraphy in his “Masterpiece of the Song and Yuan Dynasties”, it extends the painting program of landscape painting in the name of imitation and constitutes the method of analyzing and reorganizing the layout of the ducks, and as far as other families Landscape painting style, light and thick, with pen ink landscape painting five ink law and the use of color such as pen ink landscape painting method. In the specific historical environment, the painting form of landscape painting “cooked ” has been developed into Wang Yuanqi “Qi ” and Writer “in a grid. With collective power, they have succeeded in developing the painting norms of ”learnable and acceptable“, effectively scaled the landscape painting program, transformed the original meaning of the ancient Tugu system into the landscape painting technique program after the construction of the school, not only through ”retro innovation "To be.