| “谨毛失貌”论与汉代美术 |
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| 引用本文： | 段行月,梁军.“谨毛失貌”论与汉代美术[J].河北科技大学学报(社会科学版),2003,3(4):72-74. |
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| 作者姓名： | 段行月 梁军 |
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| 作者单位： | 河北科技大学,河北,石家庄,050018 |
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| 摘 要： | “谨毛失貌”论是现知的中国古代最早的真正意义上的绘画理论,在当时被广泛认同,不仅对绘画产生了影响,而且对汉代的整个美术领域都产生了作用,形成了汉代美术注重表现整体气势的美学风貌,为以后的艺术创作提供了宝贵的经验。
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| 关 键 词： | “谨毛失貌” 气势 壁画 画像石 画像砖 |
| 文章编号： | 1671-1653(2003)04-0072-03 |
| 修稿时间： | 2003年7月13日 |
The Theory of Being Strict in Trifle and Losing the Whole and the Art of the Han Dynasty |
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| DUAN Xing-yue,LIANG Jun.The Theory of Being Strict in Trifle and Losing the Whole and the Art of the Han Dynasty[J].Journal of Hebei University of Science and Technology,2003,3(4):72-74. |
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| Authors: | DUAN Xing-yue LIANG Jun |
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| Abstract: | The theory that being strict in trifle and losing the whole was accepted extensively in the Han Dynasty, which is the earliest real theory about drawing in China that is known now. It took function in all the drawing fields of Han Dynasty, and provided much precious experience for the later art creation. The aesthetics appearance emphasis on showing the entire vigor was formed. |
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| Keywords: | being strict in trifle and losing the whole vigor fresco figure stone figure brick |
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