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中国画的构图经常会留有许多的空白,特别是在宋朝以及元朝的文人画,非常飘逸,不拘泥与形式,画家所表达的的自然以及生命都展现在空白之上。在空白上呈现的花与鸟、山与水与洁白的素底相互衬托、映衬,使得中国画呈现出一种特有的艺术境界——空灵、虚静。画中的空白和素纸的空白在本质上是存在着不同的特征的。中国艺术精神将老庄作为生发之源,我国历史上一些非常著名的画家经常会在有意无意中做到这一点,故此本文主要从老庄思想上来简要的分析中国画空白的审美价值以及哲学渊源。
There are often many gaps in the composition of Chinese painting. Especially in the Song dynasty and the Yuan Dynasty, the literati paintings were very elegant, unconstrained and formal, and the painters expressed their nature and their life on the gap. The flowers and birds, the mountains, the water and the white plain are all set off against each other in white space, making the Chinese painting show a unique artistic realm - ethereal and quiet. The blank in the painting and the blank in plain paper are essentially different characteristics. Chinese art spirit regards Lao and Zhuang as the source of germination. Some very famous painters in our history often do this both consciously and unconsciously. Therefore, this article mainly analyzes the aesthetic value and philosophical origin of blank Chinese painting from the perspective of Lao Zhuang.