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中国画的程式是一套由历代画家从大自然中提炼出来,经过艺术总结、提炼夸张的相对稳定的规范性艺术语汇,它能反映地区的地貌,表达思想感情,并形成特有的艺术风格。中国画也最讲程式,每种程式是千锤百炼的智慧结晶。大凡入门中国画,一般是先从这些程式入手,学会各种山树石的技法,《芥子园画谱》是程式化的一个缩影,当代诸多大家无不从程式中受益。中国画特别是山水画的程式化在过去、在现在、在将来都扮演了一个非常重要的角色。中国山水画的程式化有产生、成熟,但永远不会完备,随历代画家的努力而扩容。山水画的程式化的形成,历经晋魏初创期、至五代迅速成熟,各种技法相继产生。荆浩开创的以点为皴的画法经过关仝范宽的继承和发展形成气势雄强的北方画派,而几乎同时,南方的董源、巨然的水墨山水画风也已形成。
The program of Chinese painting is a relatively stable and normative artistic vocabulary drawn by artists from all walks of life through nature, refined through art, exaggerated and exaggerated. It can reflect the geography of the area, express thoughts and feelings, and form unique artistic styles. Chinese painting is also the most programmatic, each program is tempered wisdom. Generally speaking, Chinese painting is generally started with these programs and learned various techniques of rock, stone and stone. “Mustard Garden Painting” is a microcosm of stylization. Many contemporary artists benefit from this program. The stylization of Chinese painting, especially landscape painting, has played a very important role in the past, now and in the future. The stylization of Chinese landscape painting has matured, but it will never be complete and will be expanded with the efforts of successive generations of painters. The stylized formation of landscape painting, after the start of the Jin and Wei Dynasties, to five generations of rapid maturity, a variety of techniques have been produced. At Jinghao’s point of view, the painting of “Dianwei” was formed through the inheritance and development of the same range of disciplines. At the same time, Dongyuan and Juran’s landscape of ink and wash paintings in the south were also formed.