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有人借中国山水画“妙在似与不似之间”这一证点用于象形石审美评判,认为象形石之“妙”也要在“似与不似之间”。完整的论述见于现代画家齐白石的一段话:“太似则媚俗,不似为欺世,妙在似与不似之间”。这是齐白石论作画的原则,而又是针对作中国山水画来讲的。溯中国美术史的发展,到魏晋南北朝有了山水画,再经几百年的发展,在宋代方确立中国山水画的写意原则。表现这一原则的一个最显著的特点就是不求形似:画家的目的不是复制事物的外貌,而是借物抒情(见高尔太《论美》,甘肃人民出版社1982年12月版第302页)。到了现代,齐白石归纳出了这条作画(山水画)的“妙”论。
Some people use the Chinese landscape painting “wonderful in between like and not like ” This card is used for aesthetic evaluation of hieroglyphs, that the “stone” of the “wonderful” also in the “like and not like.” The complete discourse is found in the passage of Qi Baishi, a modern painter: “Too kitsch is kitsch, not to be deceived, to wonder if there is anything like or not.” This is Qi Baishi’s theory of painting, but also for the purpose of making Chinese landscape painting. Tracing the development of the history of Chinese art to the landscape painting of the Wei, Jin and Southern and Northern Dynasties, the development of Chinese landscape painting in the Song dynasty was also established. One of the most notable features of this principle is that it does not seek to form a shape: the purpose of the painter is not to reproduce the appearance of things, but rather to express it by means of material (see Gower, “On the Beauty,” December, 1980, Gansu People’s Publishing House, p. 302 ). By modern times, Qi Baishi summarized the “wonderful” theory of this painting (landscape painting).