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繪畫“六法”為我國古代重要的藝術理論,自來論者甚多,目光大多集中於首法“氣韻生動”。本文作者指出,“氣韻生動”無疑為“六法”之靈魂,但其他五法亦有相對的重要性。“傳移模寫“雖居“六法”之末,亦不容忽視。作者認為:(一)依據史實,“传移模寫”作為一件藝術事業,歷代均十分重视,(二)“傳移模寫”之方法与觀念,實隨繪畫創作之發展而衍變。繪畫由工筆發展為“意笔”,“傳移模寫”亦由“工整的臨摹”衍變為“寫意的臨摹”,而後者實質上是一種对於原作的“譯解”,甚至近乎音樂中之“演奏”。此種衍變,體現着我國繪畫發展趨於深化,同時亦隱伏着停滯不前的危機。文中略述西方繪畫中有關臨摹的情况,以作參證比较。
Drawing “Six Laws” is an important theory of ancient art in our country, many of them are solicitors, most of the eyes focused on the first law, “Vivid and Vivid.” The author points out that “Vivid Life” is undoubtedly the soul of the “Six Laws”, but the other five laws are also of relative importance. Although it is still the last of the “Six Laws,” it is also not to be overlooked. The author thinks: (1) According to historical facts, “ChuanMiao mode” as an art career, each successive generation attaches great importance to, (2) “transfer mode transfer” method and concept, with the development of painting creations evolved. The painting was developed from “Essay” to “Essay”, and “Essay Writing” was also changed from “Elaborate Copy” to “Freehand Copy”, while the latter was essentially a “solution” to the original or even almost music The “playing”. This kind of evolution reflects the deepening of the development of Chinese painting and conceals the crisis of stagnation. The article outlines the situation of copying in Western painting, as a reference for comparison.