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扬州八怪的款题与印章

发布时间:2019-03-09 13:15
【摘要】:正唐画无名款,宋画开始署名,但多在树边石隙。题诗于绘画的空白部分,始于少数宋代文人画家。元明以来,题写诗文者渐多,方薰在《山静居画论》中指出:"款题图画始自苏、米,至元明而遂多,以题语位置画境者,画亦由题而妙。高情逸思,画之不足,题以发之,后世乃为滥觞。"~([1])沈灏《画Xu》论吴门画家款题曰:"衡山翁行款清整,石田晚年题写洒落,每侵画位,翻多奇趣,白阳辈效之,一幅中有天然候款处,失之则伤局。"~([2])
[Abstract]:Tang Dynasty painting nameless, Song painting began to sign, but more in the stone gap by the tree. Poems inscribed on the blank part of painting began with a small number of literati painters in the Song Dynasty. Since the Yuan and Ming dynasties, more and more poems have been written, and Fang Hsin pointed out in Shan Jingju painting Theory: "the title pictures begin from Su, Mi, to Yuan Ming and then more, and those who draw with inscriptions are also wonderful by the title." High sentiment, the deficiency of painting, the title is hair, later generations is the beginning. "~ ([1]) Shen Hao < painting Xu > on Wu men painter's section title:" Hengshan Weng Xing style clean, Shitian later years inscription sprinkled down, every invasion of the position, more interesting, Bai Yang multi-effect, There is a natural waiting place in one picture, and if it is lost, it is injured. "~ ([2])
【作者单位】: 中央美术学院;
【分类号】:J292

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