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18世纪,西洋绘画较成规模地进入中国尤其是宫廷。在这种画风的直接影响下,宫墙内外形成颇为可观的洋风画流派。对于洋风画的典型面貌,当时的文人大多以新奇的眼光,承认其逼真酷肖的特点,而鄙薄其“匠气”和文人意趣的缺失。曹雪芹不仅在其小说《红楼梦》中对洋风画进行了一定的描绘和论述,还在一篇残文中深入分析和探讨了西洋绘画中的光影和明暗,在中国绘画理论史上具有重要的意义。
In the eighteenth century, western painting entered the Chinese, especially the court, into a larger scale. In the direct impact of this style of painting, the palace wall formed considerable considerable style of foreign style painting. As for the typical appearance of foreign style paintings, most of the literati at that time accepted the characteristics of realistic and cool, but despised their lack of interest in literary style. Cao Xueqin not only portrayed and discussed the foreign style paintings in his novel A Dream of Red Mansions, but also analyzed and discussed the light, shadow and lightness in Western painting in a remnant. It is of great significance in the history of Chinese painting theory.