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郭熙是北宋熙宁、元丰年间的山水画家和理论家。郭熙的画论《林泉高致》是他一生绘画思想的结晶,对北宋之后的中国山水画产生了深远的影响,同郭熙绘画作品一样,成为后世学习的典范。绘画理论是艺术实践的总结,并在绘画实践活动中得以完善。由绘画者总结自身创作经验,根据绘画时的切身体验得来的理论总结,在绘画实践活动中起着重要作用。郭熙作为北宋首推的画家兼理论家,其绘画创作同绘画理论有着密不可分的关系。本部分就郭熙绘画风格特点,如“蟹爪树”、“卷云效”及郭熙代表作中的构图、意境、笔墨进行分析,解读绘画理论在山水画创作中的指导意义。
Guo Xi is the landscape painter and theorist of the Northern Song Dynasty Xining, Yuanfeng. Guo Xi’s painting theory Lin Quan Gao Zhi is the crystallization of his painting thought of his life and has a profound influence on the Chinese landscape paintings after the Northern Song Dynasty. Like Guo’s painting works, it has become a model for later generations to study. Painting theory is a summary of artistic practice and is refined in the practice of painting. The artist summarizes the experience of his own creation and draws conclusions from his personal experience during the painting, which plays an important role in the practice of painting. As the most important painter and theorist in the Northern Song Dynasty, Guo Xi’s paintings have a close relationship with the theory of painting. This part analyzes the characteristics of Guo Xi’s painting style, such as “Crab Claw Tree”, “Volume Cloud Effect” and the composition, artistic conception and brush-and-ink in the representative works of Guo Xi, and explains the guiding significance of painting theory in the creation of landscape painting.