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弘仁是明末清初山水画家,风格奇峭冷逸。他一生与黄山结下了不解之缘,给后人留下了许多为黄山传神写照的画迹。本文就其作品《黄山图册》作一解读,并指出弘仁在解决山水画创作中艺术与自然的矛盾这一问题上的独特成就。清末邵松年《题渐江山水册》写道:“画家争说娄东派,高简应归黄海憎,摄取幻霞溯洪谷,山如断骨树如簪。”这是说娄东派虽然在清初画坛风靡一时,但其艺术品位远不及弘仁,“山如断骨树如簪”一语对于弘仁画黄山作品的风骨,可谓入木三分。
Hong Ren is a landscape painter in the late Ming and early Qing dynasties. His life and Huangshan formed a bond of indissoluble bond to the descendants left many vivid portrayals of Huangshan painting. This paper makes an interpretation of his work, Huangshan Atlas, and points out the unique achievements of Hongren in solving the contradiction between art and nature in the creation of landscape painting. Shao Song years in the late Qing Dynasty, “Gradually Jiangshan Catalog” wrote: “The painter contends Lou East school, Jane Jane should be the Yellow Sea hate, intake Phantom Mars Hong Valley, mountains such as broken bone trees such as hairpin.” This is to say Lou East faction In the early Qing dynasty, the painting scene was all the rage, but its artistic quality was far behind that of Hongren. “Shanru broken bone tree, such as a hairpin,” could be described as one-third of the style of Huangshan painting of Huangshan.