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西方人最初看中国山水画时非常惊讶,因为他们几乎分不清楚那些最杰出的作品在风格上有什么不同。同样波斯、印度的宫廷绘画也是长时间内保持一种“雷同”的风格,这让他们觉得东方绘画就和东方文明一样处于一种似乎永恒的停滞之中。相比于此,从达芬奇到安格尔,到德拉克罗瓦,到库尔贝,到莫奈,到毕加索,风格上的变化更替就像老人额头上的皱纹一样明晰。
Westerners were initially surprised to see Chinese landscape paintings because they could hardly tell the difference in style between the most outstanding works. Likewise, the court paintings of Persia and India have also maintained a style of “same style” for a long period of time, which makes them feel that oriental painting is in a seemingly eternal stalemate as Eastern civilization. In contrast, the changing patterns of style from Leonardo da Vinci to Angle, to Delacroix, to Courbet, to Monet to Picasso are just as clear as wrinkles on the forehead of an elderly person.