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“岩彩”似乎是近些年才为中国美术界注目的新名词,其实,岩彩早已久远地存在于我们古老的传统绘画中,只不过在颜料制作与使用方法上千百年来没有什么变化。而流传到日本后由异国工匠的精工细作,使色彩分出了粗细颗粒,保持了石质晶体的美。由异国画家不同的绘画观念与绘制方法,使今日的岩彩画作越来越大,面貌也越发新奇多样。岩彩自身的美,岩彩绘制在纸、布、木制品及金属表面的美,以及岩彩混合其他材料从平面走向立体装置艺术之美,为我们开拓出一种全新的现代艺术天地。本是同源的中日绘画也拉开了极大的距离。 凡是有见地的艺术家都会越过由于历史原因而造成的近代中日绘画相互漠视的心理障碍,而正视一个事实——古老的中国画中色彩这一支在中国为“以墨为雅、以色为俗”的观念所压抑,而在异国日本却似异峰突起,风光无限。
Rock Paintings seems to be a new term that has attracted the attention of the Chinese art community in recent years. In fact, Rock Paintings have long existed in our ancient traditional paintings, but for centuries nothing has been done in pigment making and using methods Variety. And spread to Japan by the craftsmen of foreign craftsmen, so that color separation of the thickness of particles, maintaining the beauty of stony crystals. By different painting concepts and painting methods by exotic painters, the rock paintings in today’s painting are getting bigger and bigger, and their appearance is more and more novel and diverse. The beauty of rock color, the beauty of rock color painting on the surface of paper, cloth, woodwork and metal, as well as the combination of rock color and other materials from the plane to the beauty of the three-dimensional installation art, opens up a whole new world of modern art. This is the same origin of Sino-Japanese painting also opened a great distance. Any insightful artist will cross past the psychological barrier of ignorance of modern Sino-Japanese paintings caused by historical reasons, and face the fact that the ancient Chinese painting of color in China is “ ”Concept of depression, while in exotic Japan seems to be different peaks, unlimited scenery.