描述
开 本: 16开纸 张: 轻型纸包 装: 平装-胶订是否套装: 否国际标准书号ISBN: 9787508539195
编辑推荐
《中国画家》对于西方读者快速了解中国绘画很有实用意义。
Chinese Painters is a short book which is very useful for Western readers to quickly understand Chinese painting.
内容简介
《中国画家》主体分为两部分，简明扼要地概括了中国古代绘画的发展和主要特征。作者首先介绍了中国绘画的技巧和手法，包括绘画工具的使用、表现形式、主题类别和灵感来源等。第二部分按时间顺序介绍了中国绘画的发展演变，以及各个时期涌现出的代表人物。
The “China Yesterday” series include a few Sinological and biographical works on the topics of Chinese history, literature, society, etc. All these works were written by foreigners and shed light on China in unique perspectives.
Chinese Painters mainly includes two parts, which concisely summarize the history and characteristics of Chinese painting. The first part talks about the technique of Chinese painting, involving equipment, representation of forms, subjects, and inspiration. The second part introduces the evolution of Chinese painting in a chronological order, and emphasized many famous painters emerged in different periods.
目 录
PREFACEBIOGRAPHICAL NOTEINTRODUCTIONPART ONE. TECHNIQUEI. EQUIPMENT OF THE PAINTERII. REPRESENTATION OF FORMSIII. DIVISION OF SUBJECTSIV. INSPIRATIONPART TWO. THE EVOLUTION OF CHINESE PAINTINGI. ORIGINSII. BEFORE THE INTERVENTION OF BUDDHISMIII. THE INTERVENTION OF BUDDHISMIV. THE T‘ANG PERIOD—SEVENTH TO TENTH CENTURIESV. THE SUNG PERIOD—TENTH TO THIRTEENTH CENTURIESVI. THE YÜAN PERIOD—THIRTEENTH AND FOURTEENTH CENTURIESVII. THE MING PERIOD—FOUR TEENTH TO SEVENTEENTH CENTURIESVIII. THE CH‘ING PERIOD—SEVENTEENTH TO TWENTIETH CENTURIESCONCLUSIONBIBLIOGRA PHYINDEX OF PAINTERS AND PERIODS
前 言
A translator can have but one aim—to present the thought of the author faithfully. In this case an added responsibility is involved, since one who had so much to give to the world has been taken in his prime. M. Petrucci has written at length of art in the Far East in his exhaustive work La Philosophie de la Nature dans l’Art d’Extrême Orient and elsewhere, and has demonstrated the wide scope of his thought and learning. The form and style in Peintres Chinois are the result of much condensation of material and have thus presented problems in translation, to which earnest thought has been given.In deference to the author’s wish the margin has not been overladen and only a short tribute, by one able to speak of him from personal knowledge, has been included, together with a few footnotes and a short bibliography of works of reference indispensable to the student who will pursue this absorbing study. The translator takes this opportunity to make grateful acknowledgement of her debt to the authors named, who have made such valuable information available, and to those friends who have read the manuscript and made many helpful suggestions.Frances Seaver
后记
This brief survey has shown how the distinctive features of China’s artistic activity were distributed. Though subjected to varying influences, this evolution possesses a unity which is quite as complete as is that of our Western art. In the beginning there were studies, of which we know only through written records. But the relationship existing between writing and painting from the dawn of historic time, permits us to carry our studies of primitive periods very far back, even earlier than the times of the sculptured works. We thus witness the gradual development of that philosophical ideal which has dominated the entire history of Chinese painting, forcing it to search for abstract form, and which averted for so long the advent of triviality and decadence.The goal sought by Chinese thought had already been reached in painting when, in the third and fourth centuries, we are vouchsafed a glimpse of it. It is a vision of a high order, in which the subtle intellectuality corresponds to a society of refinement whose desires have already assumed extreme proportions. Like Byzantium, heir to Hellenistic art, the China of the Han dynasty and of Ku K‘ai-chih was already progressing toward bold conventions and soft harmonies, in which could be felt both the pride of an intelligence which imposed its will upon Nature, and the weariness following its sustained effort.This refinement, arising from the exhaustion of a world which even thus retained a certain primitive ruggedness, was succeeded by a stupendous movement which followed in the wake of the preaching of Buddhism. With the new gods we see the first appearance of definite and long-continued foreign influences. Civilization was transformed and took on new life. Then, as in the days of the great forerunners of the Florentine Renaissance, there appeared a whole group of artists, prepared by the art, at once crude and refined, of an earlier people. This group set resolutely to work at the close study of forms, ascertaining the laws of their structure and the conditions of the environment which produced them. The period in which the work of Li Ss?hsün, Li Chao-tao and Wang Wei was produced may be likened to the fifteenth century in Florence with Pisanello, Verocchio, Ghirlandajo and Masaccio. Similar conditions gave birth to a movement that is directly comparable with the Italian movement for, no matter how varied the outward appearances due to differences of race and civilization, the fundamentals of art are the same everywhere and pertain to the same mental attitudes.
免费在线读
The aesthetic conceptions of the Far East have been deeply influenced by a special philosophy of nature. The Chinese consider the relation of the two principles, male and female, the yang and the yin, as the source of the universe. Detached from the primordial unity, they give birth to the forms of this world by ever varying degrees of combination. Heaven corresponds to the male principle, earth to the female principle. Everything upon the earth, beings, plants, animals or man is formed by the mingling of yang and yin. While the mountain, enveloped in mists, recalls the union of these two principles, the legend of forces thus revealed by no means pauses here. Fabulous or real, the animals and plants habitually seen in Chinese paintings express a like conception.The dragon is the ancestor of everything that bears feathers or scales. He represents the element of water, the waters of the earth, the mists of the air, the heavenly principle. He is seen breaking through the clouds like some monstrous apparition, unveiling for an instant the greatness of a mystery barely discerned. The tiger is the symbol of the earthly principle, a personification of quadrupeds as distinct from birds and reptiles. His ferocious form lurks in the tempest. Defying the hurricane which bends the bamboos and uproots trees, he challenges the furies of nature that are hostile to the expression of the universal soul. The bamboo is the symbol of wisdom, the pine is the emblem of will-power and life. The plum tree in flower is a harmonious combination of the two principles. It symbolizes virginal purity.
书摘插画
评论
还没有评论。