摘要
戴熙“七候”说借道家用语来阐述成就绘画佳作的主客观条件。刚刚结束的南越之行,帮助戴熙在实地风景和前贤画式两种绘画资源之间达成新的平衡,个人画风趋于成熟。这亦是戴熙创作生涯中最为繁忙的一个阶段,他与高层官僚群体、词臣文士的积极互动展现了创作者与接受者之间的角力、碰撞对于艺术品品质的影响。
The term“Qi-hou”in Taoism was borrowed by Dai Xi during the reign of Daoguang.It explaines how to draw an outstanding painting.Seven conditions are proposed.Dai xi had just completed his long journey to Guangdong.The memory of the natural scenery inspired him.In the next three years,Dai xi was busy on painting.His audiences included the top-ranking officials in this country,scholars and so on.The interaction between them became apparent.
出处
《古代文学理论研究》
2022年第1期555-570,共16页
Studies of Ancient Chinese Literary Theory
基金
国家社科基金艺术学项目“道咸以降传统文人画的世界:空间、官制与学术”(批准号:18BF095)阶段性成果
关键词
戴熙
绘画
接受者
清代
Dai Xi
painting
the audience
the Qing Dynasty
