| 简论宋元山水画的隐逸回归 |
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| 引用本文： | 刘凤林.简论宋元山水画的隐逸回归[J].商洛学院学报,2004,18(1):57-58. |
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| 作者姓名： | 刘凤林 |
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| 作者单位： | 商洛师范专科学校艺术系,陕西商洛,726000 |
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| 摘 要： | 隐逸文化是中国传统文化的组成部分,隐逸山水画在中国美术史上占有一定的地位,它萌芽于唐,成熟于宋,发展于元,清代达到高潮。它的影响力至今仍被画家所崇尚。
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| 关 键 词： | 隐逸山水画 隐退 士人 |
| 文章编号： | 1008-3030(2004)01-0057-02 |
| 修稿时间： | 2003年10月8日 |
A Brief Discusslon to the Returning of Landscape Painting in Tang and Song Dynasty |
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| LIU Feng-lin.A Brief Discusslon to the Returning of Landscape Painting in Tang and Song Dynasty[J].Journal of Shangluo University,2004,18(1):57-58. |
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| Authors: | LIU Feng-lin |
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| Institution: | Art Depaetment of Shangluo Teachers College. Shangluo Shaanxi 726000 |
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| Abstract: | Recluse culture is one part of Chinese traditional culture.And recluse Landscape painting plays an important role in the history of Chinese art. It first appeared in Tang dynasty,became mature in Song dymasty,developed in Yuan dynasty and eventually reached its climax in Qing dymasty up to now, its influence has still been admired by landscape painting painters. |
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| Keywords: | recluse landscape paingting recluse hermit |
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