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程式化是中国古代艺术创作和审美的重要特点之一。本文以倪瓒的诗画创作为研究视角,探讨清逸诗风和萧散画风的创作程式的具体表现及其交汇融通。清逸诗风的创作程式体现在对空间关系、虚实对比关系、主客关系、疏密关系、开合关系的把握上。萧散画风的创作程式主要表现在画幅、构图、笔法等方面。清逸之诗与萧散之画的创作程式之间存在着空间意识、物我表达、审美意境、笔法选择等方面的互动和呼应。倪瓒作为两者兼擅的艺术家,其作品使我们对此两种程式的探讨超越了个体研究的意义,加深了对中国诗画关系的认识。
Stylization is one of the important characteristics of ancient Chinese art creation and aesthetics. In this paper, Niu’s poetry and painting creation as a research perspective, to explore the style of Qing style and Xiao San’s style of expression of the specific performance and its integration. The writing style of Qing style is reflected in the relationship between space, the contrast between reality and reality, the relationship between subject and object, the relationship between density and density, and the relationship between opening and closing. Xiao San style of painting is mainly manifested in the creative format, composition, brushwork and so on. There is a space interaction between the poems of Qing Yi and Xiao San’s paintings, such as the space consciousness, the expression of the objects, the aesthetic conception and the selection of the brushstrokes. As a good artist and a good artist, his works make us explore the two programs beyond the meaning of individual research and deepen our understanding of the relationship between Chinese poetry and painting.