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中国画论史
《中国画论史》止于郑板桥论画,主要论述了中国画历史。作为一本中国绘画理论发展史,下限为什么在乾隆年间呢?我是以某一画家或某一文艺批评者,凡能增益前人的理论,对于探讨中国美术理论的演变与发展有所启发,即使是一句话,也要沙里淘金,勾寻出来;或者理论虽然错误,而其影响颇大,也都予以评介。相反,重复前人之见,平庸之谈,即使议论成册,一概不取。当然这只是就我所掌握的材料和我的看法作取舍的。我以为“扬州八怪”的作品及其画论,是中国古代独放异彩的“夕阳”,自此以下,有价值的理论没有多少了。晚于郑板桥的清人,其中有可取的见解,比如谈题跋、印章,已经与同类问题集中到一起,提前插入明代有关的章节。倘若硬要续写到中国古代史下限的1851年,其结果,一是有伤《中国画论史》著论的宗旨,一是让读者兴味索然,所以还是到此结束为好。Sergeant Lamb's America
The first in a two-book series, Sergeant Lamb's America tells the story Sergeant Roger Lamb, an Irish soldier who served on the British side during the American War of Independence. Based on real historical events and people, Sergeant Lamb recounts the British defeat and the capture of his unit at the Battle of Saratoga in a voice that's both funny, insightful, and wise.This fictionalized account is based on the journals of the historical Sergeant Roger Lamb, and is largely faithful to the true eyewitness account of the American Revolution told from the loser's perspective. With his engaging, personable voice and basic decency of character, Sergeant Lamb reminds us that regardless of how history casts the British side, there were good men on both sides of this important conflict.