摘要
渐江在明亡之前主要师法古人,自武夷归歙以后,巧妙地将倪瓒的皴法与黄山一带的实景风貌相结合,从而形成其独有的画面面貌。因为时代的契机,渐江的绘事经历无意中在某种程度上契合了董其昌的一些论述,由此渐江似乎走上了一条师古人而后师造化的“绝近画中山”的“正统”之路。
Since returning back to She county from Wuyi,Jian Jiang ingeniously combined Ni Zan's method of cun with the real scenery of Huangshan area,thus forming a unique painting appearance.However,before the end of the Ming Dynasty,he mainly learned from the ancient painting masters.Because of the opportunity of the time,the painting experience of Jian Jiang unintentionally conformed to some of Dong Qichang's expositions to a certain extent.Thus,it seemed that Jian Jiang embarked on a path of learning from the ancient masters and then learning from the nature,so that on the road of"orthodoxy”that is“close to the mountain in the painting".
出处
《南京艺术学院学报（美术与设计）》
CSSCI
北大核心
2019年第3期20-24,I0001,共6页
Journal of Nanjing Arts Institute:Fine Arts & Design
关键词
渐江
倪瓒
董其昌
黄山图册
“正统”之路
Jian Jiang
Ni Zan
Dong Qichang
Huangshan atlas
the road of"orthodoxy"
