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自东晋顾恺之提出“以形写神”后,“形”与“神”便成为中国画创作的原则之一,“形”与“神”的关系也是我国历代画家反复探究的一个重要理论问题。宋代苏东坡提出了“神似”论,促进了文人画的大发展;明清时出现了“三足鼎立”的“形神兼备”论;现当代中国画家也对“形”与“神”注入了新的释义。可见,“形”与“神”作为中国画中两个基本的要素,在中国画论中占据着重要的位置。文章对“形”与“神”的形成与内涵进行了论述,结合历代以及当代画家对“形”与“神”的这一理论的继承与发展,阐明了形与神的重要性。以期对传统中国画中的“形”和“神”及其关系予以重新认识,从而更好地指导人们今后的中国画创作实践。
Since the introduction of Gu Kaizhi in the Eastern Jin Dynasty, “form ” and “god ” have become one of the principles of Chinese painting creation. The relationship between “form” and “god” An important theoretical issue that painters repeatedly explore. In the Song Dynasty, Su Dongpo proposed the theory of “godlikeness”, which promoted the great development of the literati painting. In the Ming and Qing Dynasties, the appearance of “tripartite confrontation” And “God ” into the new interpretation. Can be seen, “form ” and “God ” as the two basic elements in Chinese painting, occupies an important position in the theory of Chinese painting. This paper discusses the formation and connotation of the “” and “gods”, combining with the succession and development of ancient and modern painters to this theory of “” and “god” Importance with God. With a view to re-understanding the “” and “gods” and their relations in traditional Chinese painting, we can better guide people’s practice of Chinese painting in the future.