论文部分内容阅读
中国人的审美观一向不欣赏仅仅是精确写实的焦点透视,所以千百年来中国的散点透视一直占据着主要位置。散点透视把表现的空间无限的扩大,能更好的承载作者的主观臆造,我们既要从客观现实出发,又不能完全照抄照写。用我们现在的话来讲就是,不管我们画的多么精确,多么逼真,它也只是画,顶多是客观事物的复制品(比如照片),而非事物本身,所以这种写实意义不大,正是因为我们的先祖早就认识到了这点,才赋予了中国画更多的意义和内涵,现在向国画的回归也认同了这点。郭忠恕的绘画正是这种精神的体现。
China’s aesthetic concept has always been to appreciate the mere factual focus of precision, so China’s scattered perspective has dominated for centuries. Scattered perspective to expand the infinite performance of the space to better carry the author’s subjective make up, we must proceed from the objective reality, but also can not copy photos completely. In our present words, no matter how precise and vivid our paintings are, it is just a painting, at best a replica of the objective things (such as a photograph), not the thing itself, so it is of little practical significance. It is because our ancestors recognized this point long ago, giving more meaning and connotation to Chinese painting. Now the return to Chinese painting also agrees with this point. Guo Zhongshu’s paintings reflect this spirit.