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1940年,黄宾虹在《画谈》一文中论渍墨法说:“山水树石有大浑点、圆笔点、侧笔点、胡椒点,古人多用渍墨。精笔法者苍润可喜;否则侏儒臃肿,成为墨猪,恶俗可憎,识者不取。元四家中,惟梅道人得渍墨法,力追巨然。明文征明、查士标晚年多师其意,余颇寥寥。”从这里可以得出三个结论:一、渍墨法为淋漓的湿笔法,于山水画上主要作用于“点”为主。二、必须精笔法者使用之,此法始可成立。三、梅道人力追巨然遗矩,得渍墨法;元人后此法日渐衰微。三点归一,主体仍在“精笔法”!
In 1940, Huang Binhong said in his article “Painting Talks”: “There are a lot of muddy spots in the landscape stone, a round pen point, a pen point, a pepper point, Dwarf bloated, a pig, vulgar and abominable, knowledgeable people do not take .4 yuan, but Mei Dao people get stain ink method, force chase giant. Three conclusions can be drawn: First, the ink stain method is dripping wet brush method, mainly on the landscape painting ”point“ based. Second, you must use the fine law, this law can be established. Third, plum manpower to catch the giant moment, had stain ink law; Yuan after the law gradually decay. At one go, the subject is still ”fine law"!