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清代著名的画学著作《石涛画语录·尊受章》中提出了“受”与“识”的范畴,从另一个角度探讨和解释了绘画的继承与创新问题,作者石涛不是从“我”与“古”的关系角度,而是从“我”与“物”的关系角度进一步探讨如何变化古人,进行创新的问题。“受与识,先受而后识也。识然后受,非识也。古今至明之士,借其识而发其所受,知其受而发其所识,不过一事之能,其小受小识也。未能识一画之权,扩而大之也。夫一画含万物于中。画受墨、墨受笔、笔受腕、腕受心,如天之造生,地之造成,此其所以受也”(《石涛画语录》)。
In Qing Dynasty, the famous painterly book “Shi Taoist Quotations, Respect and Acceptance” put forward the categories of “subject” and “consciousness”, discussed and explained the inheritance and innovation of painting from another perspective, and the author Shi Tao was not From the perspective of the relationship between “I” and “ancient”, I further discuss how to change the ancients and make innovations from the perspective of the relationship between “I” and “”. “By the knowledge, the first by the knowledge afterwards. Know then by the non-knowledge also. Ancient and modern to the Ming who, by their knowledge and their sufferings, to know its subject and made known to them, but the matter of the energy, its small By a small knowledge also failed to recognize a picture of the right, but also expansion of large .Full painting contains all things in. Painting by ink, ink by pen, pen by the wrist, wrist by heart, as heaven, earth The reason why this is also ”(“ Shi Tao Quotations ”).