dong qichang meaning in English
董其昌
Examples
- Dong qichang and the songjiang school of painting
董其昌与松江画派 - A new and equally exciting era then emerged during the transition to the qing , in which orthodoxy and individualism co - existed within the literati tradition : the orthodox followed the tenets elaborated by the ming artist dong qichang 1555 - 1636 , while the individualists escaped into a private world of eccentricity , thus helping to create new horizons in painting during the early qing period
递至清初，强调传统的正统派与独创门庭的画家并起，创造了一个崭新的局面。正统派画家追随明末董其昌1555 - 1636所设立的理论，而独立画家则遁入心灵世界，开创绘画的新领域。 - This paper aims to be an academic discussion of the formative process of the concept " dong yuan " from the following four aspects : the conditions of the existed historical texts , the regional transformation of evaluation criteria , the special meeting between dong qichang and " dong yuan " , and the process of establishing the taste and main lines of history of painting
摘要本文讨论了“董源”概念的历史生成的主要过程，通过已有的历史文本的条件、品评标准的地域转变、董其昌与“董源”的特殊际遇与趣味和画史主线的确立过程等四个环节展开了全新的学术讨论。 - Unlike dong qichang , li rihua did not make such clear statements encapsulating his views on art history , but from his works on the appreciation and evaluation of calligraphy and painting , such as weishui - xian riji ( diary of the water taster ' s studio ) and liuyan - zhai biji ( notes from liuyan studio ) , we still can discern a systematic view in his grasp and understanding
摘要明代书画家、收藏家李日华没有象董其昌那样用明晰的语句来概述他对绘画史的整体认识，但从李日华《味水轩日记》 、 《六研斋笔记》等著作对绘画作品的品鉴中，仍可看到他对绘画史有一个自成体系的把握和理解。 - The early qing dynasty saw the emergence of a group of artists who focused their efforts on revitalizing the tradition based on the theory of the northern and southern schools of painting advocated by dong qichang ( 1555 - 1636 ) of the late ming dynasty . in his exaltation of the past masters , dong considered the painters of the southern school exemplary models for emulation , and his invocation of orthodoxy and glorification of antiquity laid the foundation for the " six masters " to gain the ascendancy
中国绘画的发展至清代初期时涌现了一批以仿古为创作核心的画家，他们主要继承了明代晚期由董其昌( 1555 - 1636 )所提倡的南北宗论，将过去的画家划分成两大阵营，其中奉南宗为绘画正脉，并以之为仿效对象。