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如何正确理解和把握当代重彩山水的精神内涵,重新审 视重彩在传统山水画中的价值,是当代中国画画家面临的重 大课题。 山水画在唐宋以前,基本以青绿、大青绿及金碧山水 画为创作的主流,代表画家有展子虔、李思训、王希孟等。 当时,青绿山水作为皇家所推崇的绘画形式,其规模及艺 术品位均达到了前所未有的高度。宋以后的山水画呈现出 多元发展模式,在重彩山水创作上注重笔墨技法,努力拓 展青绿山水的表现力度,丰富了人们的视觉感受。元明清 山水受文人画的影响,逐步走向以水墨为主流的表现形式, 并在观念上发生重大转变,追求“诗中有画,画中有诗”的
How to correctly understand and grasp the spiritual connotation of contemporary landscapes and to re-examine the value of the colorful landscapes in traditional landscape painting is a major issue for contemporary Chinese painters. Before the Tang and Song Dynasties, the landscape paintings used green, green and golden landscape paintings as the mainstream, representing the painters such as Xian Zhai, Li Sixun, Wang Ximeng and others. At that time, the landscape of Qing Dynasty, as the form of painting respected by the royal family, reached an unprecedented level of scale and artistic quality. After the Song Dynasty landscape presents a diversified development model, focus on the creation of heavy color ink and brush techniques, efforts to expand the performance of green landscape, enriching people’s visual experience. Yuan Ming and Qing Dynasties landscape influenced by the literati painting, and gradually move towards the mainstream expression of ink and wash, and in the concept of a major change, the pursuit of “poetic painting, poetic painting”