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我国传统的书画理论是一座采掘不尽的宝藏;达利、米罗、毕加索、马蒂斯、高更等西方现代艺术的巨匠,都曾从中找到从事艺术创造所需要的营养,丰富了他们各自的艺术个性与美学风格。中国绘画从一开始就有一种力图再现描绘对象的本质特征与整体规律为目的的倾向,而这种“本质”与“规律”从根本上说,未尝不可归结到“气”。“气”本身并非玄虚之物,它实际上是人的身体、精神、智慧以及生命活力;而它的外化形式(画家的作品),也正是“气”的运化反映。从某种意义上说,形
The traditional painting and calligraphy theory of our country is an inexhaustible treasure trove; the masters of Western modern art, such as Dali, Miro, Picasso, Matisse and Gauguin, have found the nutrients they need for art creation and enriched their respective Artistic personality and aesthetic style. From the very beginning, Chinese painting tends to reproduce the tendency of depicting the essential features and the overall law of objects, and this “essence” and “law” fundamentally mean that “ ”. “Qi” is not a metaphysical thing in itself. It is actually human body, spirit, wisdom and vitality of life; and its externalized form (painter’s work) is exactly the manifestation of “Qi” . In a sense, shape