南宋院体山水画评析

Analysis on Southern Song Dynasty of the Landscape Painting

南宋山水画主要成就集中于画院之内,以“马远、夏圭”为代表,被称为“院体山水”,即以水墨苍劲的大斧劈皴在小幅画上画边角之景,形成与北宋山水画风格迥异的艺术特色。北宋至南宋审美风格的转折,一方面是源于画家对江南小景的艺术感受,另一方面也是由于艺术本体发展的规律性造成的,同时更与当时文人画的蓬勃发展有着紧密关系。无论是从形式、内容、创作方法、还是审美趣味来看,南宋院体山水画都与文人山水画有着颇多相似之处。本文试从分析马远、夏圭的画风来探究文人画对院体山水画的影响、渗透。

The main achievement of the landscape painting in the Southern Song Dynasty of lecturer＇s synopsis of evaluation and analysis of landscape painting of institute body concentrates on the studio in of institute the southern dynasty, represented by“mayuan”,“xia gui” known as “institute body mountains andrivers”, draw scene of corner on not painting slightly with water black big are vigorous, artistic characteristic that should form the style of the landscape painting with northern song Dynasty widely differently. The turn of the aesthetic style, on one hand come from painter＇s experiencing art of xiao jing in the south from northern song dynasty to the southern song dynasty ,even cause the regularity of artistic noumenonn development on the other hand, have close relations with the flourishing development which the scholar drew at the same time. No matter from form, create method, or aesthetic temperament and interest is it think to come, institute＇s body landscape painting is all decorated with wing lot of similarity the scholar mountains and rivers in the southern song dynasty. These texts try on from analyses horse far picture wind as it probe into scholar impact on institute＇s body landscape painting of drawing to corn thoroughly.