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郭煕的山水画继承前代传统,师法造化,真实探索自然山川的奥秘,对中国山水画观察、表现自然的方法作出了重大贡献。他的《溪山楼阁图》,将宏伟奇险的山川景象和精工之极的界画楼阁融为一体,表现出画家丰富的艺术创造力,在皴法、树法、墨法、章法等表现技艺上,对前人的传统进行了大胆的创造变革。山体远取其势,近取其质,雄伟壮观;杂树表现丰富,层层推远;楼阁一笔不苟,井然有序;留白连天接水,上下呼应;设色古雅沉稳,层次分明,表现出画家丰富的想象力和艺术创造力,为北宋山水画开辟了一个新的境界。郭煕提出的“三远”理论和艺术实践,是他对中国山水画作出的最大贡献。“三远”不仅科学合理地结构了画面的布局形式,而且还指向了一种精神的追求,超越客观物象的局限而达到心灵自由的境界。
Guo Xi’s landscape paintings inherit the traditions of the previous generation, make good use of his techniques, and truly explore the mysteries of natural mountains and rivers. He has made significant contributions to the observation and expression of nature in Chinese landscape paintings. His Map of Rivers and Hills pavilion combines the magnificent and dangerous landscapes with the seminal palaces of Seiko, showing the rich artistic creativity of painters. In his performance techniques such as law, tree law, ink law, and chapter law, On the tradition of predecessors made a bold change. The mountain is far from its potential, near the quality of its majestic; marsh tree performance is rich, pushing away layers; Paragon meticulous, orderly; white water, echo from top to bottom; color quaint calm, structured, Showing the painter’s rich imagination and artistic creativity, opening up a new realm for Northern Song and Yuan Dynasty landscape painting. Guo Xi’s “Three Yuan” theory and artistic practice are his greatest contributions to Chinese landscape painting. “Three Yuan ” not only scientifically and rationally structured the layout of the screen, but also pointed to a spiritual pursuit that surpassed the limitations of objective objects and reached the realm of spiritual freedom.