李唐艺术研究札记四题  

Probe into the Four Aspects of Li Tang's Artistic Pieces

作　　者：李林[1] 

机构地区：[1]鲁迅美术学院美术史论系,辽宁沈阳110004

出　　处：《艺术探索》2016年第1期33-37,共5页Arts Exploration

摘　　要：两宋之际是中国山水画艺术的重要转型时期,它上承晋唐山水画中理想化之余韵而有所转变与升华,下启元明清文人山水画为主的表现意韵与技法渊源,开拓了一个严谨把握客观对象的广阔发展空间。但同时,不可否认的是北、南两宋的山水画艺术又在其各自表现面貌上产生极大的风格差异,体现出了鲜明的时代性风格特征,其中最能体现这一重要转变的非李唐莫属。对李唐山水画面貌的自然形貌与艺术传统来源、李唐与郭熙艺术的联系与区别、李唐对南宋院派风格开宗立派的影响以及李唐艺术中的诗意追求等方面的研究,可以有助于解读李唐艺术面貌的特征。The Northern and Southern Song Dynasties witnessed the transition of Chinese landscape painting which inherited the idealized style of landscape painting in Jin and Tang Dynasties and fostered the techniques and implications popular in Ming and Qing Dynasties, developing the tradition of objective representation of realities, though landscape paintings in the northern and southern Song boasted contrasting styles with distinct features of the ages respectively, which found eloquent expression in Li Tang＇s pieces. The probe into the origins of landscape paintings and the traditions followed, the comparison and contrast of artistic pieces by Li Tang and Guo Xi, Li Tang＇s influence as the founder of academic style of painting in southern Song Dynasty and the aesthetic values of Li＇s pieces will shed light on the features of Li＇s artistic pieces.

关 键 词：李唐 笔墨技法 院派传统 诗意特征 

分 类 号：J212[艺术—美术]