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在中国绘画发展史上,文人画主宰了中国画坛近千年。在文人画理论推动下,水墨画取得了很大成就。与此同时,作为中国画形式语言之_的色彩,在绘画上的表现却没有得到足够的重视,“绚烂之极,归于平淡”“运墨而五色俱”等倡导水墨画色彩表现的观念使色彩处于辅助地位。文人水墨灿烂的干年也是色彩“失语”的干年,从某种意义上说,这是中国画发展过程中的一个问题。如何解决这个问题?笔者认为,加强对本民族民间美术色彩的分析研究,深入认识民间美术色彩在中国画中的美学价值,发掘并利用民间美术色彩资源,弥补当代中国画创作中色彩的缺失,定会给当代中国画色彩革新带来些许有益的启示。
In the history of the development of Chinese painting, literati painting dominated the Chinese painting for nearly a thousand years. Under the impetus of literati painting theory, ink painting made great achievements. At the same time, as the language of Chinese painting, the performance in painting has not been paid enough attention to. The expression of ink painting is advocated by such artists as “lightness” The concept of color in a supporting position. Literati ink dry year is also color “aphasia ” dry years, in a sense, this is a problem in the development of Chinese painting. How to solve this problem? In my opinion, to strengthen the analysis of the folk art color, to understand the aesthetic value of folk art color in Chinese painting, explore and use the color resources of folk art to make up for the lack of color in contemporary Chinese painting, will give Contemporary Chinese painting color innovation to bring some useful inspiration.