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清代乾隆以后,中国画坛是一个低落的时期。前一段闪光的“扬州八怪”已经过去,后一段辉煌的“海上画派”尚未到来。这是就大形势而言的,但就画家个体而言,仍不乏高手妙作,朱昂之就是其中之一。朱氏生于乾隆二十九年(1764),卒年无考,但近八十岁尚有作品,其艺术活动主要在嘉庆、道光两代。他是江苏武进人,居苏州。父亲文嵘是画家,他自幼受到薰陶是必然的。那个时期在吴门地区,董其昌和“四王吴恽”的传统影响依然很大,他正是以此筑基的。他曾自言,每一运腕,即为三王吴恽所缚,不能脱其范围,一艺之成,固非易事。中年他临画了许多古人之
After Qianlong in Qing Dynasty, the Chinese painting society was a period of depression. The previous flash of “Eight Eccentrics in Yangzhou” has passed, after a period of glorious “Sea Painting School” has not yet come. This is in terms of the general situation, but as far as individual artists are concerned, there is still no shortage of masters masterpieces. Zhu Angzhi is one of them. Zhu was born in Qianlong twenty-nine years (1764), died of no test, but there are still works nearly eighty years old, the main artistic activities in Jiaqing, Daoguang two generations. He is a native of Jiangsu Wujin, Suzhou. His father Wen Rong is an artist, and he was influenced by his childhood. At that time in the Wu area, Dong Qichang and the “Four Kingdoms Wu 恽” the traditional influence is still great, he is based on this. He once said to himself, every trick, that is, the three kings Wu Mi bound by the scope can not be off, a arts into, solid non-easy things. Middle-aged he painted many ancient people