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空白,是中国画空间意识构成中特别值得探讨的命题,民族绘画的艺术性和审美性,直接同画中之“白”紧紧联系在一起。空白总是潜藏着画家的某种情思意趣,彰显着某种内在的张力和结构,它能使画面的主题得以充分、突出的表现,使艺术形象的概括性、生动性等呈现出整体和谐统一的美,也使艺术家的主观创造性得以最大限度的发挥。中国画创作中的构思布局、意境创造、虚实表现、审美意趣等都有空白意象的表现和自觉追求,这贯穿了整个艺术创作的全过程,甚至延续到画外地每一位受众,“空白”作为中国绘画艺术表现的重要组成部分,在山水、花鸟、人物等各种题材内容的中国画创作中,被画家们以形式多样的手法予以充分表现,使画面具有浓厚的绘画性和意境美。
The blank space is a proposition worthy of special discussion in the composition of Chinese painting space consciousness. The artistic and aesthetic characteristics of national painting are closely linked with the “white” in the painting. Blank always lurks some kind of emotional interest of the painter, reveals some intrinsic tension and structure, which enables the theme of the screen to be sufficient and outstanding performance, making the artistic image of the generality and vividness showing the overall harmony and unity Beauty, but also to enable the artist’s subjective creativity to maximize the play. The conception and layout, the creation of the artistic conception, the actuality and the aesthetic interest of Chinese painting all have the performance of blank images and their conscious pursuit, which runs through the whole process of artistic creation and even extends to every audience in the field. As an important part of the performance of Chinese painting, Chinese painters are fully represented in various forms in the creation of Chinese paintings of various themes such as landscapes, flowers and birds, and figures, making the painting a richly pictorial and artistic conception.