论文部分内容阅读
在丹青的路上我已行了三十多个春秋了。在艰苦的求索中几经周折,蓦然回首,重新审视传统中国画笔墨,愈体味到它的特别的感染力,它是中国画的纯粹的气质和精神的体现,它有如大地之山河,人身之骨脉,无愧为中国画之灵魂。 中国画的线有别于西洋画的线,它是软毫在平面上(特别是在特制的宣纸和绢上)从一个点向另一个点运行,上下起伏、抑扬顿挫、起承转合的心灵轨迹,它随着画家情绪的变化而变化,可急可缓、可重可轻、可焦可湿、可浓可淡,处处折射着画家感情律动的光波。它具有极强的表现力,可以说,以线造型是中国画最基本的造型原则。但它与西方不宜力变的硬笔或硬毫所形成的单调的线又有天壤之别。
On the road to Dan I have done more than thirty spring and autumn. It is a reflection of pure temperament and spirit of Chinese painting that it is like a mountain of mountains and rivers, a bones of the human body, as a result of the twists and turns of painstaking search. After a brief review of traditional Chinese painting and calligraphy, Worthy of the soul of Chinese painting. The line of Chinese painting differs from that of western painting in that it runs softly on a plane (especially on specially made rice paper and silk) from one point to another, fluctuating, cadence, The painter’s mood changes and can be urgent or gentle, can be re-light, coke wet, thick and light can be, everywhere reflects the feelings of the artist rhythm of light waves. It has a strong expressive force, it can be said that the line modeling is the most basic modeling principle of Chinese painting. But there is a world of difference between it and the monotonous line that is hard-pressed by the West or hard-won.