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东方绘画或者说中国绘画,它的空间构造的由来始终是一个谜.固然,我们可以拿郭熙的“三远法”来说话,而在这之前,首先是绢本支撑体与墨的微颗粒可以无障碍地将山形云雾用渲淡法隐没于绢丝之中,空间演出得心应手.岩彩壁画则不同,含材质颗粒的岩彩材料如此简单地去制造想象空间的“余白”很难.但也恰恰是青绿山水的出现,使中国绘画的空间构造得以完成.文章试图对莫高窟第217窟经变故事画背景中山水的解析,求证借佛教经变故事而产生的中国绘画空间原创期形态样式,讲述一个由“间”即“留空”意识所产生的东方绘画“平面绘画中的空间构成”.如果“间”作为二维平面绘画“空间构造”的基本语法,我们回头再看毕加索、马蒂斯绘画,那将是别样一般的风景.“,”The spatial structure of Chinese paintings has always been a riddle of oriental art.This question can certainly be discussed,as summarized by Guo Xi,in terms of the three main techniques showing different per-spectives used in landscape paintings,but it is the physical medium of the silk canvas and the particles of the ink that make it possible to smoothly paint clouds and fog with a haloing effect.Murals painted with mineral pig-ments are thus entirely different,as it is very hard to create an imaginative open space using mineral pigments containing visible material particles.It was the appearance of landscape paintings that marked the completion of the spatial structure of Chinese paintings,a technique that researchers detect traces of in Buddhist cave murals. This paper examines the landscape background of the sutra illustrations and narrative paintings in Mogao cave 217,tracing back to the original form and style of Chinese painting,and demonstrates that the“spatial structure of flat oriental painting”is produced by the ideas of“space”or“creating blanks.”If the“blank”was regard-ed as the basic grammar of the spatial structure of two dimensional paintings, in fact, views of even Western painters such as Picasso and Matisse would be quite different.