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笔受于心以书入画赵子昂语:“石如飞白木如籀,写竹还应八法通。若也有人能会此,须知书画本来同。”书画同源,古已论之。作画如作书,笔墨分明,使转随心,不为笔驭,不为墨碍。以书入画乃学画取法正宗,也是中国画之特点,以书入画强调书写性,非描摹制作,而须一点一画笔笔写出。树石、山水、舟桥、人物、花卉等需依形写就,客观之物象通过主观之笔墨再现,从而达到中国画讲求笔墨美为核心的精神旨归。
The pen is subject to the heart of the book into the painting Zhaoneng language: “stone as flying white wood as 籀, write bamboo should be eight law .If anyone can do this, it is necessary to know that calligraphy and painting are the same.” Painting as a book, pen and ink clear, so turn your heart, not pen Yu, not for the ink barrier. To learn from the book is to learn painting method is authentic, but also the characteristics of Chinese painting, calligraphy and painting emphasizes writing, non-tracing, and must be a little brush pen to write. Trees, landscapes, boats, bridges, figures, flowers, etc. need to be shaped according to the form. The objective objects are reproduced through the subjective pen and ink so as to achieve the spiritual purpose of emphasizing the beauty of brushstrokes in Chinese painting.