论文部分内容阅读
本文以山水画写生实践中,对“生”的理解为立足点,以山水画写生“状物”方式为切入点展开论述。通过对“写生”的解释,以及对当代中国画写生观念的反思,回顾画史上重要山水画家对待写生的状态和言论,由此折射出他们专心致志、一以贯之的对待艺术人生的态度。对写“生”与状“物”之间的关系,辨明义理,也对中国山水画的写生方式做了简要梳理。进而,阐述了山水画写生是围绕着人与自然的关系来进行的,写“生”与状“物”是写照万物世界和表达内心世界的合一。山水写生是“搜妙创真”的结果,是画家心与物游、身心涤荡的境界,不是简单的对“物”描摹。
In the practice of landscape painting, this article takes the understanding of “life ” as the starting point, and starts with the way of landscape painting sketching “form ”. Through the interpretation of “Sketching ” and the reflection on the concept of contemporary Chinese painting sketch, the author recalls the state and remarks of the important landscape painters in the history of painting to treat sketches, and thus reflects their devotion to the attitude of treating art life consistently. On the relationship between the writing “life ” and the state “object ”, to identify the rationale, but also briefly sketch Chinese landscape painting way. Furthermore, it expounds that sketching of landscape painting is based on the relationship between man and nature. The writing, birth and shape are the unity of portraying the world of things and expressing the inner world. Landscape painting is the result of “searching for a wonderful reality”, which is the realm of the painter’s heart and physical tour, and is not a simple description of “matter ”.