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一、董巨画风董源的主要绘画活动是在南唐烈祖和中主时期。沈括在《梦溪笔谈》中评价他:“江南中主时,有北苑使董源善画,尤工秋岚远景,多写江南真山,不为奇峭之笔,其后建业僧巨然祖述源法,皆臻妙理。大体源及巨然画笔皆宜远观,其用笔甚草草,近视几不类物象,远观则景物粲然,幽情远思,如睹异境。”[1]米芾《画史》评道:“董源平淡天真多,峰峦出没,云雾显晦,不装巧趣,皆得天趣,……溪桥渔浦,洲渚掩映,一片江南也。”[2]从其传世的《寒林重汀图》《潇湘图》《夏山图》等作品看,画面完全取材于
First, Dong Ju style Dong Yuan’s main painting activity is in the Southern Tang Dynasty and the Lord during the main. Shen Kuo in the “Meng Xi Bi Tan” in the evaluation of him: “Jiangnan Zhongzhu, Beiyuan Dong Yunshan painting, especially autumn Lan vision, write Jiangnan really mountain, not surprisingly steep pen, then Jianye monk giant Ancestral source law, Jie Zhen wonderful .General source and giant brush are far-off vision, the use of the brush is very careless, myopia is not something like objects, distant view of scenery suddenly, ] M 芾 ”history of painting“ commented: ”Dong Yuen plain innocent and more, peaks and valleys, fog clouds, not fitted with fun, are the best of times, ... ... River bridge fishing Pu Island, Island Zhu set off a piece of southern. “[2] From its handed down” Hanlin Ding Ting map “” Xiaoxiang map “” Summer Mountain map "and other works, the picture completely drawn from