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清代中期以前,大致在18世纪,是中国晚期绘画史上具有重要意义的关键时期。唐宋绘画的气势雄健,元代绘画的淡雅荒疏,明代绘画的文人逸致,到明末清初“四僧”、“四王”的变古与复古,古典中国画至此基本终结。一般认为,近代中国画的起点是19世纪后期的海派,这从时间上与中国社会的近代化是合拍的。但作为海派先导的活动于18世纪的“扬州八怪”,从作品风貌来看也完全可以纳入近代中国画的体系。而且古代、近代画家身份的变化(元明清画家多是文人画家和供奉画家,近代画家多是职业画家),以及中国画大规模的商品化,都得从18世纪的扬州画坛算起。所以,百家争鸣、新旧交替当是18世纪中国绘画的主旋律。
Before the middle of the Qing Dynasty, roughly in the 18th century, it was a crucial period in the history of late Chinese painting. The paintings of Tang and Song dynasties were magnificent, the paintings of the Yuan dynasty were elegant and absurd, and the literati of the Ming dynasty painted the works. By the end of the Ming dynasty and the beginning of the Qing dynasty, the ancient Chinese paintings and the ancient paintings of the four monks were basically ended. It is generally believed that the starting point of modern Chinese painting was the Shanghai School of the late 19th century, which coincides with the modernization of Chinese society in time. However, as the pioneer of Shanghai School, the “Eight Eccentrics of Yangzhou” in the 18th century can also be completely incorporated into the system of modern Chinese painting from the style of the works. And in ancient times, the changes of modern painters’ identities (that of the Yuan, Ming and Qing dynasties were mostly scholarly painters and dedicated painters and modern painters mostly were professional painters) and the large-scale commercialization of Chinese paintings had to be counted from the 18th-century Yangzhou painting circles. Therefore, a hundred schools of thought contend, the old and the new is the main theme of Chinese painting in the 18th century.