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我国的新石器时代,就在大量岩画中有马的形象;殷商餐臀青铜器上复杂的动物纹饰中,马也占有相当的比例;秦汉时期的壁画、石刻上的马更是屡见不鲜。这些时期的马的创作以摹仿自然为主,造型从粗朴稚拙逐渐走向简洁概括,艺术化的特征越来越明显。魏晋南北朝时,鞍马画有了极大的发展,具有独特价值的鞍马画作越来越多,东晋顾恺之的《洛神赋图》、杨子华的《北齐校书图》都是当时鞍马画的代表。顾恺之善画人,亦善画马,《洛神赋图》中那些姿态各异、或行或止的马,造型准确,描摹生动,就连难度很大的四足仰天嬉戏的马,
In the Neolithic Age of our country, there were images of horses in a large number of petroglyphs. Among the complicated animal decorations on Shangbian dinh bronze wares, the horses also occupy a considerable proportion. The murals in Qin and Han dynasties and the horses on stone inscriptions are more common. The creation of horses in these periods mainly imitated nature, and the shapes gradually moved from simple to simple and concise, and the artistic features became more and more obvious. During the Wei, Jin and Southern and Northern Dynasties, pommel horse painting had great development. There were more and more pommer horse paintings with unique values. The “Luo Fu Fu Tu” by Gu Kaizhi in the Eastern Jin Dynasty and the “Northern Qi School Book Drawing” by Yang Zihua were all representatives of the pommel horse painting at that time. Gu Kaizhi good painting, but also good at drawing horses, “Luo God Fu map” in those gestures, or line or stop the horse, modeling accurate, vivid description, even the difficult four-foot Yangtian play horses,