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中国山水画的空间意识,是依靠笔墨去开拓,或者说,笔墨是中国山水画空间的实践者。更简单些,甚至可以说中国人的思维以及在空间中对外在之物的观照,都与用笔相关,与笔踪墨痕相系。因为笔,长期以来就是中国人的书写工具,不仅与语义相关,而且与字形相关。中国的象形字,同样在提示着一个空间成像的关系。中国的笔墨,似乎可以贯穿中国文化任何一个存在的空间。对山水画而言,笔墨的空间问题更为集中,也更为突出。
The spatial awareness of Chinese landscape painting relies on ink and brush to open up, or that the brush and ink is a practitioner of Chinese landscape painting space. To be simpler, it can even be argued that Chinese thinking and the contemplation of externalities in space are all related to the use of pens and their tracing of ink marks. Because pens have long been Chinese writing instruments, not only related to semantics, but also related to glyphs. The Chinese pictographs are also reminding us of a spatial image. It seems that Chinese ink and ink can run through any existing space in Chinese culture. For landscape painting, the space problem of pen and ink is more concentrated and more prominent.