解读仇英绘画的文人化倾向——兼析明中期后两大绘画传统的互渗
明代中期，“吴门画派”远承元代文人画的疏放简淡而逐渐取代“浙派”，在文人画发展史上影响深远。但作为“吴门四家”之一的仇英常因“精工巧丽”而被贬为“行家”之流。
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| Veröffentlicht in: | 文物鉴定与鉴赏 2011 (1), p.78-85 |
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| container_title | 文物鉴定与鉴赏 |
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| creator | 吴晶莹 |
| description | 明代中期，“吴门画派”远承元代文人画的疏放简淡而逐渐取代“浙派”，在文人画发展史上影响深远。但作为“吴门四家”之一的仇英常因“精工巧丽”而被贬为“行家”之流。 |
| doi_str_mv | 10.3969/j.issn.1674-8697.2011.01.017 |
| format | Article |
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| fulltext | fulltext |
| identifier | ISSN: 1674-8697 |
| ispartof | 文物鉴定与鉴赏, 2011 (1), p.78-85 |
| issn | 1674-8697 |
| language | chi |
| recordid | cdi_wanfang_journals_wwjdyjs201101017 |
| source | 国家哲学社会科学学术期刊数据库 (National Social Sciences Database) |
| subjects | 互渗 仇英 传统 文人化 明中期 明代中期 绘画 解读 |
| title | 解读仇英绘画的文人化倾向——兼析明中期后两大绘画传统的互渗 |
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