商品簡介
《中國畫家》主體分為兩部分，簡明扼要地概括了中國古代繪畫的發展和主要特徵。作者首先介紹了中國繪畫的技巧和手法，包括繪畫工具的使用、表現形式、主題類別和靈感來源等。第二部分按時間順序介紹了中國繪畫的發展演變，以及各個時期湧現出的代表人物。 The "China Yesterday" series include a few Sinological and biographical works on the topics of Chinese history, literature, society, etc. All these works were written by foreigners and shed light on China in unique perspectives. Chinese Painters mainly includes two parts, which concisely summarize the history and characteristics of Chinese painting. The first part talks about the technique of Chinese painting, involving equipment, representation of forms, subjects, and inspiration. The second part introduces the evolution of Chinese painting in a chronological order, and emphasized many famous painters emerged in different periods.
作者簡介
拉斐爾·佩初茲（Raphael Petrucci，1872—1917），法國優秀的漢學家之一，儒蓮獎（“漢學界的諾貝爾獎”）獲得者。 Raphael Petrucci (1872–1917), one of the best Sinologists of France, and winner of the Stanislas Julien Prize.
目次
PREFACE
BIOGRAPHICAL NOTE
INTRODUCTION
PART ONE. TECHNIQUE
I. EQUIPMENT OF THE PAINTER
II. REPRESENTATION OF FORMS
III. DIVISION OF SUBJECTS
IV. INSPIRATION
PART TWO. THE EVOLUTION OF CHINESE PAINTING
I. ORIGINS
II. BEFORE THE INTERVENTION OF BUDDHISM
III. THE INTERVENTION OF BUDDHISM
IV. THE T‘ANG PERIOD—SEVENTH TO TENTH CENTURIES
V. THE SUNG PERIOD—TENTH TO THIRTEENTH CENTURIES
VI. THE YüAN PERIOD—THIRTEENTH AND FOURTEENTH CENTURIES
VII. THE MING PERIOD—FOUR TEENTH TO SEVENTEENTH CENTURIES
VIII. THE CH‘ING PERIOD—SEVENTEENTH TO TWENTIETH CENTURIES
CONCLUSION
BIBLIOGRA PHY
INDEX OF PAINTERS AND PERIODS
書摘/試閱
The aesthetic conceptions of the Far East have been deeply influenced by a special philosophy of nature. The Chinese consider the relation of the two principles, male and female, the yang and the yin, as the source of the universe. Detached from the primordial unity, they give birth to the forms of this world by ever varying degrees of combination. Heaven corresponds to the male principle, earth to the female principle. Everything upon the earth, beings, plants, animals or man is formed by the mingling of yang and yin. While the mountain, enveloped in mists, recalls the union of these two principles, the legend of forces thus revealed by no means pauses here. Fabulous or real, the animals and plants habitually seen in Chinese paintings express a like conception. The dragon is the ancestor of everything that bears feathers or scales. He represents the element of water, the waters of the earth, the mists of the air, the heavenly principle. He is seen breaking through the clouds like some monstrous apparition, unveiling for an instant the greatness of a mystery barely discerned. The tiger is the symbol of the earthly principle, a personification of quadrupeds as distinct from birds and reptiles. His ferocious form lurks in the tempest. Defying the hurricane which bends the bamboos and uproots trees, he challenges the furies of nature that are hostile to the expression of the universal soul. The bamboo is the symbol of wisdom, the pine is the emblem of will-power and life. The plum tree in flower is a harmonious combination of the two principles. It symbolizes virginal purity.
