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中国山水画作为一个完整的文化体系,其发展经历了一个漫长而璀璨的过程,从东晋的“人大于山,水不容泛”、唐代的“金碧山水”、五代的“全景山水”,到宋代“文人画”萌生,“马一角”、“夏半边”的广为流传,“元四家”的飘逸出尘,再到明朝“吴门画派”的统领画坛,以及到了清代的循规蹈矩,陈陈相因,直到近代传统山水画再度兴盛,无不透露出中国历代山水画家对山水绘画艺术的孜孜追求。
As a complete cultural system, Chinese landscape painting has undergone a long and bright process. From the perspectives of people in mountains and mountains in the Eastern Jin Dynasty, the golden landscape in the Tang Dynasty and the panoramic landscape in the Five Dynasties, The “literati painting” in the Song Dynasty began to flourish. The horse corner and the summer half were widely circulated. The elegant and dusty “Yuan Si Jia” went to the command of the “Wu Men School” in the Ming Dynasty and to the Qing Dynasty Well behaved, Chen Xiang-Xiang, until the modern traditional landscape painting flourished again, revealing all the Chinese landscape painters landscape painting diligently pursue art.