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《太平抗倭图》与明代主流绘画样式完全不同,它没有采用传统的表现重大主题和纪实性题材所惯用的横卷形式,而是以民间“地舆图”的表现方式,将与整体事件相关联的各个情节安排在一个如同地图的整体框架之内,并由此展开相互之间的情节关系,具有较浓郁的民间绘画特性。该画的艺术成就以人物的表现为代表,虽然它不像完全意义上的人物画那样能够表现出人物的神情以及思想活动,而像山水画中的点景人物那样仅仅是以简单的人物动态表现抗倭的主题,但人物众多,关系错综,是另类的明代人物画的代表作品。在整幅画中占据主要篇幅的建筑,着墨最多,用力最深,不亚于人物的表现,是难得的研究明代太平地区建筑的重要资料。
The “Taiping anti-Japanese map” is completely different from the mainstream painting style in the Ming Dynasty. Instead of using the traditional horizontal and vertical forms of major themes and documentary themes, the “Taiping anti-Japanese map” is based on the expression of folk “geographical map” Each episode related to the event is arranged within a whole framework like a map, and thus the plot relationship between each other is carried out, and the characteristics of the folk painting are rather rich. The artistic accomplishment of this painting is represented by the performance of characters. Although it does not show the expression and thought activity of characters as the portraits in the complete sense of the word, as the scenery characters in the landscape paintings are merely dynamic figures with simple characters The theme of anti-Japanese, but a large number of people, relational intricacies, is another representative of the Ming Dynasty figure painting works. In the whole painting occupies the main space of the building, the most inking, the most hard, no less than the performance of people, is a rare study of the Ming Dynasty Taiping important building materials.