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在中国话所表现的形式语言当中,其“留白”手法则是重要的组成部分之一,在中国绘画艺术当中,主要是运用画面留白的艺术表现形式,以笔墨虚实变化与留白进行之间的对比,从而表现画面空间变化及虚实的不同,以此突出绘画所要表达的意境特点,这样的手法,不仅能够使得画面主体有一个更为形象的展示,还能够给人想象上的自由,并且能够为凸显画面的已经埋下更为重要的伏笔,也是绘画者想象力的延伸。中国画中“留白”的运用是通过白与黑、虚与实的对比形成的,其中结合了道家思想中“无”的思想。道家思想用“无”来阐述了中国传统绘画中的“留白”这一表现形式的哲学渊源,通过有形与无形的对比,虚与实的对比,并运用充满感情和韵律的笔墨来体现其魅力。中国画中的“留白”是艺术性与审美性有机结合,只有这种完美的结合才能使画作达到以虚衬实、虚实相生的致高境界,才能产生具有生命力的中国画。
Among the formal languages represented by the Chinese language, the “left-behind” approach is one of the important components. Among the Chinese painting art, it mainly uses the artistic expression of the blank screen, White contrast between the performance of the picture changes in the space and the actual situation in order to highlight the characteristics of the mood to express the painting, this approach can not only make the screen subject has a more vivid display, but also gives the impression The freedom, and can highlight the picture has been laid more important foreshadowing, but also an extension of the imagination of the artist. The use of “white space” in Chinese painting is formed through the contrast between white and black, virtuality and reality, which incorporates the “” thought of Taoism. Taoism expounded the philosophical origin of the “whiteness” in traditional Chinese painting through the comparison of the tangible and the intangible, the contrast between the virtual and the real, and the use of “emotionless” Pen and ink to reflect its charm. Only the perfect combination of art and aesthetics can make the painting reach the high level of realism and realism in order to produce vitality Chinese painting.