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一、笔墨背后是文化的积淀谢赫在“六法”论中第一提到气韵生动,第二提到骨法用笔,可见我们这个论述的命题可以说是把中国画的核心问题都包容在内了。写和意本是两个不同的概念,意是无形的,是形而上的,我觉得它像一坛老酒,长久酝酿之后,散发出一种醉人的、牵人心魄的气息。而写则是笔墨的运用,是实实在在的,是画家能否自由驾驭笔墨,调动起自己的全部潜能,将自我意识完美体现在画面中的实际的操作能力。
First, behind the pen and ink is the cultural accumulation Sheikh in the “Six Laws” on the first mentioned vivid charm, the second reference to the bone method pen, we can see that the proposition of this discussion can be said that the core issues of Chinese painting are inclusive Inside. Written and Italian are two different concepts, meaning invisible, metaphysical, I think it is like an altar wine, after a long brew, exudes a intoxicating breathtaking atmosphere. The writing is the use of ink, is real, is the artist’s freedom to control the pen and ink, mobilize their full potential, the perfect self-awareness embodied in the picture of the actual operational capacity.