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在中国书画体系中,历来延续着诗书画印“四全”传统,画面与题跋文字相互附着和依赖,不同表现形式和媒介之间共同构成了一个完整、丰富的表意系统,从而实现了人文涵义的深厚与意境空间的完满。然而曾几何时,中国画上的题跋由一件文雅遣性、抒发心性的快事,渐渐沦为一种令很多画家抵触、为难
In the Chinese painting and calligraphy system, the tradition of poetry, calligraphy, painting and calligraphy, the “four completeness”, the attachment and dependence of pictures and inscriptions are attached to each other, and a complete and abundant ideographic system is formed together by different forms of expression and media, thus realizing The deep meaning of humanity and the perfect space of artistic conception. However, once upon a time, the inscriptions on the Chinese paintings were made by a piece of elegant decency and expression of decency, gradually becoming a form that many artists contradict and embarrassed