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众所周知,对客观物象的摹写与再现是绘画的基本功能之一。西晋时,我国名士陆士衡的“宣物莫大于言,存形莫善于画”一语道出了绘画的存形再现功能。在摄影术出现之前,具象绘画长期以能够准确承载、传播图像信息的优势而广受民众的喜爱。因此,无论在元代之前的中国,还是19世纪前的西方,基于具象写实的绘画理论一直被画家奉为圭臬。元以后,中国的主流绘画逐渐被写意性的文人画所取代。与之相反,西方绘画经由文艺复兴艺术家们在透视学、解剖学等领域的积极探索,使得具象绘画得到了长足发展,尤其是19世纪法国古典主义绘画大师达维特、
It is well known that the copying and reproduction of objective objects is one of the basic functions of painting. In the Western Jin Dynasty, Lu Xunheng, a celebrity of our country, proclaimed that “the propaganda thing is greater than words and forms a non-existent painting.” Before the advent of photography, figurative painting has long been popular with the public for its ability to accurately carry and disseminate image information. Therefore, no matter in China before the Yuan Dynasty, or in the West in the 19th century, the theory of painting based on the realistic image has always been regarded by the painter as a symbol. After the Yuan Dynasty, the mainstream Chinese painting was gradually replaced by the literary paintings of the descriptive nature. On the contrary, western painting has made great progress in figurative painting through the active exploration of Renaissance artists in the fields of perspective and anatomy, and in particular David Davit, the 19th century French master of classical painting,