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中国画欣赏新译
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于 14:58:00发表评论：七、&&& 一点（今后的）思考7, thought for the future中国画艺术是东方文化宝库中的一颗璀灿明珠，古往今来，它一直在向前发展，犹如一条长河，虽有时狂暴湍急，有时滞流平缓，但从没发生断流，它一直在发展中 向前、向前，终于汇成今天这样一条浩浩荡荡的艺术大河，中国画的发展中凝聚了多少代画人探索奋斗的结晶，这需要每一位有志于中国画中求索的学人珍视的。Chinese painting is the art treasure-house of Oriental culture in a very bright pearl, ages, it has been in development, like a long river, although, as stormy weather and floods fast, and sometimes stagnation addition to the gentle flowing rivers, but Did not occur stop (no development), which has been in development forward, forward, and finally pooled into today a mighty river of art, Chinese painting rally in the development of painting and the number of people to explore the crystallization of struggle, which requires Every one interested in Chinese paintings of people in search of treasure.中国画，无论什么时代，什么内容，山水，花鸟，人物，都离不开传统。因为离开传统就是“无根之花、无源之水”。 Chinese paintings, no matter what age, what, landscapes, flowers and birds, figures, we can not do without the traditional. Because the traditional left is the "rootless flowers, passive water."但是，中国画在“洋为中用，古为今用”过程中，越来越丧失民族特色。几年前，曾发生某画家的布幕国画被归类到油画展的事情，震惊了国画界……于是产生诸如“中国画末路穷途”、“笔墨等于零”等悲观论调。一位爱好中国画的以色列画家说，中国画应该是让我们喜欢中国画的人看起来还是中国画。However, the Chinese paintings in the "foreign used by the Chinese, ancient by today's" process of increasing loss of national characteristics. A few years ago, had a painter's "Bumu Chinese painting" Oil Painting Exhibition to be classified matter, shocked the Chinese painting circles…… therefore produce such as "dead-end Chinese Painting" and "zero ink" and other pessimistic view. A Chinese painting of the Israel-loving painter said that China should be painted so that we like Chinese paintings of people look or Chinese painting.传统的中国画以写意为主，擅长表现情感和意境，但在表现具体物象上较抽象。“把西方的造型观念融入到中国画中，提高中国画的表现范围和能力，是今天从事国画艺术的人所努力追求的。”中国美术协会中国画艺委会主任、花鸟画家郭怡宗认为，取长补短有利于中国画适应时代发展。但在发展过程中要防止中、西画界限越来越模糊。不少中国画与油画在构图、手法等方面有着惊人的相似，如果不被告知这是中国画，仅从模糊的幻灯片中判断，很自然地认为是油画。“这就是现今中国画面临的最大问题。”Traditional Chinese painting to freehand brushwork mainly good at feelings and moods performance, but in the performance of specific than abstract images. "The Western concept of modeling into the Chinese paintings, Chinese paintings enhance the performance of the scope and capacity, is today engaged in the art of Chinese painting by the pursuit of efforts." Chinese Artists Association of China, director of the Hua Yi, Flowers and Birds Painting Jia Guo Yizong that is conducive to learning from Chinese paintings to the development of the times. However, in the development process to prevent Chinese and Western painting boundaries increasingly blurred. Many Chinese paintings and oil paintings in the composition, methods, and so has a surprisingly similar, if not been told this is the Chinese paintings, only vague slide in the judgement, it is natural that is painting. "This is the modern Chinese paintings of the greatest problems."美术评论家刘曦林不无忧虑地说。以中国画为代表的东方绘画和以油画为代表的西方绘画，都在各自的发展道路上创造了无数辉煌：但由于东西方在思维模式、哲学基础以及美学观念等方面的差异。 在绘画上的不同十分明显。例如，尽管在绘画之初，东西方都是用线条来描绘物象的，但在以后的发展中，西画的“块面”和中国画在线条的观念和使用上，有了巨大的差别： 西方绘画逐渐走上了科学写实的道路，而中国绘画则走上了写意的道路：线条在两个绘画体系内的地位和作用也有了显著的分野。著名学者彭吉象先生曾对中西绘画的差异作了如下的概括：“如果中国绘画尚意，那么西方绘画尚形；中国 画重表现、重情感，西方绘画则重再现、重理性；中国绘画以线条作为主要造型手段，西方绘画则主要是由光和色来表现物象；中国绘画不受空间和时间的局限，西方绘画则严格遵守空间和时间的界限。总之，西方绘画注重再现与写实，同中国绘画注重表现与写意，形成鲜明差异”。&Art critic Liu Xi Lin said with concern. Chinese painting as the representative of the Oriental paintings and oil paintings as the representative of Western painting, all in their path of development has created countless brilliant: But because the East and the West in mode of thinking, philosophy and aesthetic concepts, and so on the basis of the difference. In a different painting is very clear. For example, although in the beginning of painting, East-West lines are used to describe the images, but in the future development of Western painting of the "block face" in Chinese painting and the concept of lines and use, a huge difference: Western painting Gradually embarked on the path of scientific realism, and then embarked on a Chinese painting freehand brushwork of the road: two lines in the drawing system, the status and role of a significant distinction. Mr. Peng Jixiang a noted scholar of Chinese and Western painting have made the difference summed up as follows: "If China is still Italian painting, Western pai Chinese painting-performance, heavy emotion, the weight of Western painting reproduction, re- Chinese painting to Modeling lines as the main means of Western painting was mainly to performance by the li Chinese painting from the limitations of space and time, Western painting, strictly abide by the limits of space and time. In short, Western-oriented representation and realist painting, with the Chinese painting freehand brushwork and focus on performance, a sharp difference. "中国画主要的特点是追求“诗情画意”――状物抒情与写实主义绘画的结合为基本创作风格，也是广大民众内心的审美追求，作者有感而发，受众由景入情，生动传神的细节刻画成为双方情感交流的信息载体。The main characteristics of Chinese painting is the pursuit of "poetic" - bar lyric realism painting and the combination of the basic creative style, but also the vast number of people seeking heart of the aesthetic, emotional and revealed by the author in the works, received many scenes from entering a "story" Plot, vivid portrait as vivid details of the two sides (the author and readers) emotional exchange of information carrier.（例如：顾绍骅创作的中国山水诗意画――《高士赴任图》&&& For example: shaohua-gu poetic creativity of the Chinese landscape painting - "Goldsmith appointment map"【赏析】高山仰止，瀑布飞泻；顶天立地，壁立千仞；初春时分，树木返青；朋友赴任，临别依依；……峻巍的山势造成动人心魄的效果，又仿佛从画面上“传出”飞瀑直下的轰鸣与寒风的掠过，交织在一起，使人感到自然造物之伟大。具有强烈的艺术感染力。【Analyze 】high mountain's being the tallest be such of, water of the waterfallThat mountain is very big, top elephant connect day, underneath immediately after, the on the side of mountain is many elephant knifes to chopIn spring just inchoate time, the tree starts the color whicMy good friend will go to original place an official, our preparation separate of time, all feel in a bad humor, mutually loathe to give up l……That is very high big, dangerous of in plant and thick tree, weed...etc. in Tashan, the good elephant is obstructing my friendly friend right away.Imitate Fo to"spread" waterfalls to fly to flow to keep next huge voice and the sweep of bise from the appearance, the intertexture together makes the person feel natural build the greatness of thing.Have a strong art atmosphere.有诗为证：俯仰不能去，如逢旧友同。曾因春雪散，见在华山中。何处有明月，访君听远风。相将归未得，各占石岩东。（唐朝?于邺的《友人亭松》诗意）Poetry has to prove: stand up in the mountains, none can not go to see downward, as old friends met the same can not be separated. Because once the spring, melting snow, with friends in the "Mountain" in each other. There are bright moonlight, to ask you to the news from afar. Each other to be returned are uncertain what our respective occupation "Shiyan East."此画采用以墨为主（墨分五色――焦、浓重、淡、清），“浅绛设色”、背面衬染的画法，因此有“不伤笔墨”古朴、高雅的等特点。This painting used to ink the color of the main (five-ink color - Coke, thick, short, the Qing), "Qianjiang colors," lining into the back of the painting, it is "not injured ink" simple, The elegant and so on.136×34cm&& 纸本设色&&& 2007年作）“状物妙在似与不似之间；太似则媚俗，不似则欺世。”这是一代宗师白石老人的感悟，也是中华民族的审美意趣所在。"Painting the best way to objects in between
too much like the readers to think too ordinary, boring, not as it is to deceive the people of the world (readers)." This is the generation of master baishi-qi elderly sentiment , But also the aesthetic Interest of the Chinese nation.中国画和油画的区别主要有以下几点；（1）中国画出现的时间早于油画，仅就成型的绘画作品来说，中国画是在东晋时期（约公元304-589年）成型的，油画的成型至少要到中世纪的文艺复兴时期。（2）中国画历史遥追数千年,为中华传统艺术之瑰宝。中国画最大的特点是诗、书、画、印的作品构成以及画作本身含就的中华文化底蕴是别于西方绘画艺术的最大特点；中国画是集文学、艺术为一体的结晶、瑰宝。因此，油画是没得比的。（3）中国画采取的是散点透视法，油画采取的是焦点透视法，所以中国画可以画出大范围的人物风景画（如清明上河图）而油画不能，油画能画出物体强烈的质感效果而中国画不能。（4）中国画一般不采用重彩，颜色的种类较少，油画的色彩程度很重，使用的颜色也很多。（5）中国画很重视装裱，油画对此基本忽略。（6）中国画一般都结合私人的书法衿章与题字，而油画基本没有。（7）中国画发展过程中，流派相对固定且分化不大，油画发展过程中流派众多且分歧也大。Chinese paintings and oil paintings are the main difference between
(1) Chinese painting as early as the time painting, forming the only paintings, Chinese paintings in the Eastern Jin Dynasty period (304-589 AD), molding, painting the molding at least the Middle Ages to the Renaissance. (2) Chinese painting history of remote recovery for thousands of years, traditional Chinese art treasures. Chinese painting is the biggest characteristic of poetry, books, paintings, seal the works, and a painting on their own with the Chinese cultural heritage in Western painting is not the most important Chinese painting is set literature, the arts as one of the crystallization of gems. Therefore, the painting is better than no. (3) Chinese painting is taken by the casual point perspective, the painting is taken by the Focus Lens, so Chinese painting can draw a wide range of landscape painting figures (such as the "Riverside Scene of Pure Brightness") and not painting, oil painting can draw the object strongly Chinese painting and texture effects can not. (4) Chinese paintings do not normally re-used color, color, the type less, the color degree of heavy oil painting, the use of the color of a lot. (5) attaches great importance to mounting Chinese paintings, oil paintings were largely ignored this. (6) Chinese paintings are generally a combination of private and Zhang Jin calligraphy inscriptions, and basically no oil painting. (7) in the development of Chinese painting and schools relatively fixed and not divide, in the development of oil painting and many schools have big differences.本应是东西方并行的两大画派――西方的油画、东方的中国画并驾齐驱；但如今的结果是：一个是“营养过剩”（油画），而另一个是严重的“营养缺乏”。这些是因为东西方所存在的文化背景、人文习惯、经济发达与否等诸多因素的影响所至；所以造成了国际社会对西方绘画――油画的宠爱倍致，对东方绘画――中国画的很大的漠视。而这种“漠视”会将导致一个我们十分不愿意看到的结果――“适者生存”。也许现在或不久的将来中国画会“变异”；它将“变异”为艺术价值低廉、没有笔墨、没有诗情画意、没有“三远”（没有中国画特性）的，在外界的压力下所派生出来的“畸形儿”――只有怪异的色彩、块面和特殊技法（材料）所表现的肌理效果；即所谓“创新的中国画”。因此，我在此恳请：发达国家爱好艺术（特别是爱好东方艺术）的团体或朋友们，请你们为保护世界艺术宝库中的一棵绚丽夺目的奇葩――中国画，而进自己的一份力吧！另外：要想让中国画真正能受到世界各国人民的喜爱，就必须把中国书画“学习、培训”班办到世界各国去；而今，随着中国文化的国际交流，中国文化体制的改革，中国文化艺术的瑰宝――中国书画将越来越受到世界各国人民的了解与喜爱，中国书画“学习、培训”班办到世界各国去的梦想即将成为现实；也只有当世界各国喜爱艺术的人们通过学习、了解并懂得欣赏中国书画作品艺术的“真谛”才能去喜爱、保护中国书画的健康发展；相信到那时中、西方绘画价格的差距才能有所改善。我们期盼那一天能早日到来！This should be the two major East-West parallel School - Western oil paintings, Chinese paintings keep pace with the east, but today's result: a "nutritional excess" (painting), while the other is a serious "lack of nutrition。" These are the things that exist because of cultural background, cultural habits, economic development or not, and many other factors
As a result of the international community to Western painting - painting the times of love, the Oriental Painting - Chinese Painting Great indifference。 This "ignore" We will lead to a very reluctant to see the results - "survival of the fittest。" Perhaps now or in the near future Chinese Painting "variation" it will "skin" for the artistic value is low, no ink, no poetic, not the "three far" (without the characteristics of Chinese painting), in the outside world under the pressure of the derived " Deformed children "- only strange colors, block-and special techniques (material) by the performance of the texture effect the so-called" innovation of Chinese Painting。 " Therefore, I urge this: the developed countries-loving art (especially Oriental art-loving) groups or friends and ask you to protect the world's treasure house of art in a magnificent display of wonderful work - Chinese painting, into a force of its own ! In addition: to get the Chinese paintings can really be the peoples of the world's favorite, Chinese paintings and calligraphy on the need to "study and training" classes aroun Now, as China's international cultural exchanges, the Chinese cultural system reform, Chinese culture Art gems - will become more and more Chinese paintings and calligraphy by the peoples of the world's understanding and love of Chinese painting "study and training" classes around the world to do the dream will soon become a reality only when all countries in the world people love the arts through study , Understand and know how to appreciate Chinese paintings and calligraphy works of art "true meaning" in order to love and protect the healthy development of C believe that by that time, the gap between the prices of Western painting can be improved。 We look forward to an early arrival of that day!注?本文参考的文献：1、《中国绘画史》潘天寿著 ；2、《中国书画鉴赏辞典》；3、《中国画色彩学》；4、《中国书画报》；5、《国画家》；6、《翰园书画报》；7、《中国书画艺术报》香港版。8、《中国画往何处去?许群 》；9、《论当代中国画的发展方向与画家的自我追求》等Note ? paper reference literature: 1, "the history of Chinese painting," a Pan Tianshou, 2, "Dictionary of Chinese painting Appreciation"; 3, "Chinese paintings of color"; 4, "Chinese Painting and Calligraphy", 5, "the painter"; 6, "John Park painting", 7, "Chinese painting and calligraphy art" Hong Kong version. 8, "Chinese paintings to where to Xu Qun ?" 9, "On the development of contemporary Chinese art direction and the painter's self-seeking."本文作于2003年10月（08年8月修改）&&& shaohua-In this paper, as in October 2003 (August 08 reorganization)作者简介：顾绍骅、男、一九六三年五月二十二日生、四川省巴县人(武汉市出生)、武汉教育学院中文系毕业、武汉市美术教学研究会会员、湖北省书画研究会理事；世界教科文卫组织专家成员、世界文化艺术家协会理事。联系住址：武汉市江岸区堤角小区城开星园3-1-202&& 邮编：430011电话：086-027-&&& E―minl:
About the author: Gu Shaoyuan Hua, M, May 22, 1963 Health, the Palestinian County in Sichuan Province (born in Wuhan City), graduated from the Wuhan Institute of Education Department of Chinese Literature, art teaching and research in Wuhan City Council Member, Hubei Fine Art Research D UNESCO World Health Organization expert member, Association director in the Arts house of the World Cultural. Contact Address: District of Wuhan City Jiangan embankment Kok District City Star Park opened 3-1-202 Zip code: 430011 Phone :086-027- E-minl: gushaohua2 @ sina. com&[]本站网友
于 14:56:00发表评论：&六、&&&&& 中国画的“品位” 6, the Chinese Painting "grade"绘画是有层次和品位的。中国古代画论把画品分为许多层次，一般而言，妙品比能品为高，而神品又比妙品为高，高水平的画家当然应该追求最高层次一一神品。而神品又必须以能品和妙品为基础，连能品都达不到，怎么能成为妙品呢?同理，连妙品都达不到，又怎么能成为神品呢?可见。神品离不开能品和妙品，能品和妙品是神品的必要准备和必要条件，而神品是能品和妙品的最高归宿：Painting is the level and quality。 Ancient Chinese paintings on the painting materials divided into many levels, in general, the wonderful work than the usual works, and works magic than wonderful works of high-and high-level artists should pursue the highest levels of course - the magic works 。 The magic works also need to work normally and wonderful works for the foundation, even the works are usually can not, how to become a wonderful works? ?The same token, even the beauty of the works are not, how can we become It works magic ?visible。 The magic of goods to and inseparable from the works of wonderful works, usually works and wonderful work is the magic works and the necessary preparations for the necessary conditions, and the magic works is usually works and the wonderful works of the highest results:凡是艺术作品，都由三个层次组成。第一个层次是艺术语言。它是艺术作品的形式层面，主要包括艺术语言和形式结构。也就是各门艺术独特的表现方式和手段。在绘画中主要指线条、笔墨、色彩、构图。All works of art, are composed of three levels。 The first level is the artistic language。 It is works of art in the form of levels, including the structure and form of artistic language。 Is the unique performance art methods and means。 In the main means of painting lines, a brush with Mose's "Kung Fu", color, structure, and so on。这些艺术语言，不但是创造艺术形象的表现方式和手段，而且本身就具有独立的审美价值；艺术语言的运用高低，对创造艺术形象起着直接的作用，艺术家正是通过艺术语言，塑造出各种各样的艺术形象、并表达出艺术家对生活和自然的独特体验和感受。These artistic language is not only the image of performance art to create ways and means, but in itself is independent of the aesthetic value of the use of high and low language arts, the creation of artistic image plays a direct role, artists, it is through language arts, to shape the The image of various kinds of art and artists to express their natural life and the unique experience and feelings。由于艺术语言在艺术作品中有着极其重要的作用，所以各门艺术都十分重视对艺术语言的研完和运用，也都十分重视艺术语言的创新和探索。艺术作品的第二个层次是艺术形象，它是艺术作品的内容美。美术作品主要塑造视觉形象、它直接付诸欣赏者的视觉感官、因而特别富有直观性、生动性、具体性。As artistic language in works of art have a vital role, so the art attached great importance to the art of language study and use End, also attached great importance to innovation and artistic language of exploration。 Works of art to the second level is the artistic image, it is the content of works of art the United States。 The major works of visual art shaping the image, put it directly to enjoy the visual senses, especially with so intuitive, vivid and concrete。在艺术作品中，艺术形象是艺术作品的核心和关键。在绘画中。不能为笔墨而笔墨，也不能为艺术语言而艺术语言，艺术语言最终是为了塑造艺术形象，而艺术意蕴也是蕴藏在艺术形象之中的，从这个意义上讲有艺术形象就没有艺术作品。艺术形象越鲜明、越典型，艺术作品就越有生命力；艺术家的使命之一，就是要塑造典型、鲜明、生动、优美的艺术形象。艺术形象不仅具有具体可感的形象性，而且要具有典型性和概括性，它把无比丰富的生活用典型化的手法概括到形象之中。In works of art, the art works of art image is the core and key。 In Painting。 Not for the ink and pen and ink, we can not search for the arts and language arts, language arts is to create the ultimate image of the arts, and the Meaning of Art also contains the image of the arts, in this sense there will be no image of art works of art。 The distinctive artistic image, the more typical, works of a one of the artist's mission is to create a typical, clear, vivid and beautiful image of the art。 Art not only has the image of concrete sense of the image, but also a typical and all-embracing, the very rich life with the typical image of the way to summarize。艺术形象又具有情感性和思想性。在艺术形象中，必须融进艺术家的喜怒爱憎，渗透进艺术家对生活的思考和评价。艺术形象还具有审美意丈，它凝聚着艺术家审美理想和审美情趣，闪耀着艺术创造的光辉，能给欣赏者以美的享受。作为美术家不但要追求以艺术语言为主的形式美，还要进一步追求以艺术形象为主的内容美，从艺术层次来讲，内容美比形式美更高更难。当然，内容美又脱离不开形式美，世上没有无形式的内容，一定的内容总是要通过一定的形式才能表现出来，形式美是内容美的必要条件和必要准备，而内容美又是形式美的目的和归宿。Art image but also has emotion and thought。 In the artistic image, to be incorporated into the artist's happy, angry, loved, hated the feeling of living artists infiltration into the thinking and evaluation。 Artistic image of Zhang Yi also has aesthetic, it embodied artists aesthetic ideal and aesthetic appeal, which radiates with the brilliant artistic creation, who can appreciate the enjoyment to the United States。 As the artists not only to the pursuit of artistic language mainly to the formal beauty, but also to further the pursuit of artistic image of the United States-based content, from the level of art terms, as the United States and higher than the formal beauty even more difficult。 Of course, inseparable from the content from the United States and formal beauty, there is no such form without content, content is always certain to pass some form of order shown, the content of formal beauty is a necessary condition for the United States and the necessary preparations, but the content is the form of the United States The purpose of the United States and the end result。艺术作品的第三个层次是艺术意蕴，这是艺术作品的最高层次，也是一个艺术家终生为之奋斗的目标：艺术意蕴是指艺术作品中蕴含着的深层的人生哲理、诗情画意或精神内涵。它是艺术家对艺术形象、艺术典型或意境的深刻领悟和创造的结果。Works of art the third level is the Meaning of Art, which is the highest level of works of art, the artist is also a lifelong struggle goals: Implications of art is in the works of art contains a deep philosophy of life, poetic or spiritual connotation。 It is the artistic image of artists, art or typical mood of profound understanding and create the results。黑格尔在《美学》中认为：“意蕴总是比直接显现的形象更为深远的一种东西。艺术作品应该具有意蕴”(见《美学》第一卷25页)。艺术意蕴也就是唐代诗论家司空图提出的“象外之象、”“景外之景”、“韵外之致”、“味外之旨”，也就是比艺术形象本身更加深广隽永的精神内涵，这种内涵蕴藏在艺术形象之内，只有凭借欣赏者的细心体察、玩味、感悟、领会，才能真正认识知押解例如：徐悲鸿在抗日战争期间画的《风雨鸡鸣》除了娴熟的笔墨和生动、准确、优美的艺术形象外，还有着深刻的艺术意蕴，& 当时正值日寇铁蹄践踏神州大地、中华民族处在水深火热之中，徐悲鸿画了一个挺胸昂首，站在石头上引吭高鸣的大公呜。来激发人们奋起抗日、还我江山的勇气和决心，表现了徐悲鸿强烈的爱国主丈情怀和民族的自信心。艺术意蕴要求艺术家在有限中体现出无限，在偶然中蕴藏必然，在个别中包含普遍，艺术意蕴可以看作是内容与形式的统一、感性与理性的统一、客观与主观的统一、再现与表现的统一、具象与抽象的统一、形象与哲理的统一。Hegel in the "aesthetic": "The implication is always direct than the image appear even more far-reaching thing. Implication of works of art should be" (see "aesthetic" vol 25). Meaning of Art is the Tang Dynasty Poems home Sikong Tu's "image, the image," "scenic landscape," and "flavor of the spirits" and "fun to be outside the meaning of the expression", that is, than the artistic image of itself more deeply Meaningful The spiritual connotation, which contains the artistic content of the image, only to enjoy by virtue of the carefully observe, pondering, sentiment and understanding, can we truly understand that Escort, for example: beihong-xu painting during the War of Resistance Against Japan in the "wind and rain chicken is" in addition Skilful pen and ink and vivid, accurate and beautiful image of the art, there is a profound implication of art, at the time when the Japanese invaders cruel trampling on China , The Chinese nation is in dire straits, beihong-xu painting a chest raised his head station The rocks on the rise sing the Emirates Ming. To stimulate the people rose up against Japanese aggression, I Jiangshan the courage and determination shown beihong-xu main Zhang strong patriotic sentiments and national self-confidence. Meaning of Art artists in the limited requirements embodied in the unlimited, natural reserves in the accident, in individual included in general, art Implication of the content and can be seen as a form of unity, the unity of emotional and rational, objective and subjective reunification, reproduction and performance The unity of the abstract and as a unity, the unity of image and philosophy.艺术意蕴具有多义性和模糊性的特点，既是具体的确定的，又是不确定的。艺术意蕴可以看作不完全是由艺术形象体现出来的主题思想，它比主题思想更宽泛更深刻，它是一种更加形而上的东西，它是一种哲理和诗情，常常是只可意会，难以言传，只可接近它，无法穷尽它，即“此中有真意，欲辩已忘言”。艺术意蕴需要欣赏者用自己的全部心灵和才智去探究和领悟，是艺术作个层次的完美结合，才形成了传世名作。品具有不朽的艺术魅力的根本原因。具有远见卓识的艺术家，不能满足于艺术语言和艺术形象的探求和创造，还应更上一层楼，追求和创造具有深刻艺术意蕴的作品。Meaning of Art has more meaning and ambiguity of the characteristics of both the identification of specific, is also uncertain。 Meaning of art can be regarded as not entirely reflected by the artistic image of the theme of thinking, thinking of it than the more general theme of even more profound, it is a more metaphysical things, it is a philosophical and poetic, often can only Tacit , Yan Zhuan difficult, it only accessible, it can not come to an end, that is, "herein are Zhenyi, to have been forgotten were made by the defence。" Implications of the need to appreciate the arts with all its soul and intellect to explore and understand, is art for the perfect combination of level, it formed a works handed down。 Goods with the enduring charm of the root causes of the arts。 The visionary artist, can not be satisfied with language arts and the arts explore and create the image, but also a higher level, and the pursuit of artistic creation has a profound implication of the works。著名的美术史家郑午昌说过：“综观中西绘画，而寻其演进之次序，可分为四程，第一程漫涂，第二程形似，第三程工巧，第四程神化。”有一点需要指出：在艺术作品的层次构成中，任何一个作品都必须具有前两个层次，但又不能停留在前二个层次上(即艺术语言和艺术形象)，而应该尽可能地追求第三个层次，即艺术意蕴。作为最高层次的艺术意蕴，并不是每一件艺术作品都必须具有的，某些偏重于娱乐性、功利性或纪念性的作品，常常不存在这一层次，或者说，难以达到第三个层次，但是，从总体而言，正是这些艺术作品中的这三个层次具有相对独立的意义，其中，每一层次都有自身的审美价值，有的艺术作品或许只有其中某一层次比较突出，或者有独创的艺术语言，或者有感人的艺术形象，或者有而十人寻味的艺术意蕴。但是，真正优秀的艺术作品，总是在这三个方面都卓有成就，并且将这三个层次完美融合为一个整体，只有这样的作品，才能成为传世不朽的艺术精品。（凡高的画为什么开创了世界独幅绘画的最高售价?凡高为什么成为后期印象派的三大巨匠之一? 后期印象派摒弃了自然的形，摆脱了“正常”、“有逻辑”的羁缚，发展成张扬个性的现代艺术。凡高艺术作品的最大特色是对炽热情感的表现，他作品中的情感像“火山的爆发”一样，无比热烈奔放、震撼心灵，在这一点上，以前的画家，没有一个画家可以和他相比，正因为如此，他才永载史册，成为一代风范，也正因为如此，他的作品才开创了世界之最高售价。从许多成功画家的成功奥秘中不难得出一个结论：画画，不能只画真实，也不能停留在再现上，一定要画出自己的情感，这是画家成功的秘诀之一。）Well-known art historian Kenneth Cheng-chang said: "Looking at the Central and Western painting, and found the order of their evolution, can be divided into four-way, the first Tu-Man, the shape of second-and third-Gongqiao, the fourth-deification。" One thing It must be pointed out: the level of works of art in the form of, any works must have the first two levels, but can not remain at two levels (that is, language arts and artistic image), but should try to seek a third Level, that is, Meaning of Art。 As the highest level of artistic implication, not every one works of art must have a certain emphasis on entertainment, utilitarian or commemorative works, often non-existent this level, or that difficult to achieve the third Level, but, generally speaking, it is these works of art in these three levels are relatively independent significance, which, each level has its own aesthetic value, and some works of art which may be only a certain level of outstanding , Or a unique artistic language, or a moving image of the art, or a 10 Xunwei and the Meaning of Art。 However, the truly outstanding works of art, always in these three areas are renowned for their achievements, and a perfect fusion of these three levels as a whole, the only way the works, in order to become immortal handed down the fine arts。 (Van Gogh's painting Why create the world alone paintings at the highest ?Van Gogh post-impressionist Why become one of the great masters of the three? late Impressionist abandon the natural shape, emerging from a "normal" and "logical" Ji Lashing, into the modern art publicized personality。 Van Gogh's greatest works of art with the intense emotion of the performance, he works like the emotional "The outbreak of the volcano", very warm unrestrained, shocked souls, on this point, before The painter, not a painter, and he can be compared, and that is why he is forever in the annals of history, a generation demeanor, is precisely because of this, his works before creating the world's highest price。 Painter from the success of many successful mystery It is not difficult to draw a conclusion in: drawing, painting not only true, we can not stay in reproduction, must draw their own feelings, this is one of the secrets of successful artists。)[]本站网友
于 14:54:00发表评论：&5&& &中国画的用光5 Chinese paintings of light一位大画家曾说过，一位美术家的重要性，是由他引入美术语言中创新符号数量的多寡决定的。中国古典绘画中的光，大都是表现明暗分布的。现代中国画中的光，不仅表现明暗分布，而且成为刻画形象、突出主题、表现画家情感的新艺术语言。现代中国画家的这种创造，对中国画的革新与发展功不可没。对此我们必须给予足够的重视。A great artist once said, the importance of an artists, he is by the introduction of innovation in the language of art the size of the number of symbols of the decision。 Chinese classical painting in the light, most of the distribution of brightness performance。 Modern Chinese Painting in the light, not only brightness distribution, and a portrait image, prominent theme, emotional performance artists of the new artistic language。 The modern Chinese painters such creation, the innovation of Chinese Painting and development achievements can not be ignored。 We must give them adequate attention。王履《华山图画》&& Wang Li, "Huashan picture。"明初画家元履以自然为师，所作&华山图》册页四十幅，皆由写生观察得来，光感甚强，故山石明亮坚实，气势雄伟；而冷谦的《白岳图》纯用下：笔焦墨擦出的山石。明暗分明，光感显著，尢其画幅中部树林的顶稍留出光亮部位，与山石白云亮部协调统一,深得自然光影之妙& 浙派画家继承南宋水墨苍劲的画法，全以大斧劈及拖泥带水皴勾斫，多近块的造型，放山头每出现明显的光感。试看张平山的《山雨欲来图》上部的山峰，竟有类似逆光的感觉，更属奇特。吴派画家唐寅十分注重画的明度，如《深山伴侣》中的山石，明部过渡自然、暗部对比强烈、调子准确，显得整幅画面明媚动人，非对光的明度有深入观察不能表现至此。清代力倡革新的石涛，所作山水极有创意，并且“搜尽奇峰打草稿”，努力表现对自然景物的真切感受、其画山石每留出空白面，而在山顶和山脚用浓墨衬托，显得光洁明净，水墨淋漓，画面中山水更得光影微妙之趣。他的《搜尽奇峰图卷》和《双清阁图卷》中，对树林的光影表现更是奇妙之至、在中国画“用光”史上值得大笔一书的是金陵八家之首的龚贤―其作品墨韵深厚、层次丰富，在乌黑亮泽中迫出强烈的―)亡感。Early Ming painter yuan to Li for the natural division, made by the &Huashan picture "of the 40-page booklet, in the observation of them paint, very strong sense of light, the bright solid rocks, the magnificent momentum, while the" Baiyue picture "with pure Under: Stroke at a depth of the shades together to make Mose to the rocks。 Shading clear, light feeling significantly, particularly in Central Picture woods just to stay top of the site to light, bright white clouds and rocks Department of harmonization, won the wonders of the natural lighting of Zhejiang painter inherited the ancient "Southern Song Dynasty," during the Cangjin ink paintings Law, and all the big Fupi Tuonidaishui Cun hook Zhuo, and more recent pieces of modeling, every hill-a clear sense of light。 Let us look at Zhang Ping Shan "when it rains in the mountains to the picture" of the upper peaks, the total of similar backlight feeling, even more peculiar。 Miss Tang Yin painter painting a lot of importance on the lightness, such as "deep partnership" in the mountains and rocks, that the transitional nature of the dark contrast of the strong, accurate tone, it is moving whole screen was bright, non-brightness light of the observation can not have an in-depth performance this。 Shi Tao Li Chang Qing Dynasty innovation, the landscape is very creative, and "search all the strange peaks to the outline of a painting," to the nature of the performance of real feelings, every painting rocks remain a blank face, and on the Peak And the foot with Nongmo background, it is bright and clean reduces noise reduction resulting in ink Lin Li, the screen in landscape lighting in the more delicate of Fun。 His "search all the strange peaks plans volumes" and "double-Club plans volumes", the lighting performance of the woods is wonderful all due, in Chinese Painting "used up" worthy of the history of the book is huge, "the Tombs of eight "summit - Gong Xian - his works ink flavor deep, rich levels, in black Liangze in forcing strong -) dead feeling。对林木及点景物的渲染也常显出光的神秘，对后人颇多启迪；需要指出的是，晚清随西方教会进来的所谓传教土画家，如郎世宁、艾启蒙等，他们基本上是用中国画的工具和题材形式画西洋画，画面全按西洋透视明暗关系刻刨，所作无论花鸟动物或人物风景，都是典型的“素描加勾线”式的画法，因其缺少笔墨气韵和情趣，缺乏中国画的传统气质，故亦与本文试图建立之“用光”系统无涉。综上所述，传统中国绘画中，历代都不乏对光有所观察和表现的画家或作品，尽管这些表现大都是无意识的，而臣程度上与我们现代人对光的观察和理解差别甚大，但也可证明“光”作为绘画上二不可或缺的一种因素，在我国千百年来的绘画实践中确已普遍地存在着，并对我国绘画的发展进步有着不容忽视的作用。Forest and the point of rendering features often demonstrate the mysterious light, a lot of inspiration fo needs to be pointed out that the late Qing Dynasty with the Western Church entered the so-called missionary territories artists, such as Lang Shining, the Enlightenment, such as Viagra, they basically Chinese painting is the subject of painting tools and Western painting, Western perspective on the whole screen brightness relations carved shaver, animals or birds and flowers made by both figures landscapes, are a typical "hook and line drawings" type of painting, because of their lack of ink Qiyun And interest, the lack of traditional Chinese painting temperament, Guyi with this attempt to create "light" system-free。 In sum, traditional Chinese painting in the past have had no lack of light observation and performance artists or works, although these are mostly unconscious performance, and Robinson extent with our modern light of observation and understanding vary widely, But can also prove that the "light" on the painting as an indispensable factor in China for thousands of years the painting is indeed universal practice exists, and the development and progress of China's paintings have the effect can not be ignored。中国画以线条为主要造型手段，特别是自宋元以来，文入画家一直“以水墨为上”，把光色放在次要位置，而且光与色又处于分离状态，所以有人误认为：“中国画却是线的韵律。光不要了，影也不要了。”其实，画面上如果没有光，便一片漆黑，那叫什幺画呢?所以宋代的韩拙说：“笔以立其形质，墨以分其阴阳。”清代沈宗骞进一步指出：“画之色，非丹铅青绛之谓，乃在浓淡明晦之间。”“阴阳”、“明晦”中的“阳”、“明”指的就是光，只是中国画家对光色的认识是哲学的、经验的罢了。因此，中国画家没有原生影、派生影、全明暗、全色彩等概念，而是把画面上的光分成正面光、固定光、平面光等。现代中国画家受到现代哲学、现代科学与现代人审美要求的影响，其画面上对于光的处理发生了巨大的变化，在保留部分中国人审美习惯的同时，又大胆突破正面光、固定光、平面光的束缚，创造了新的光色语言。用强光、顶光、开光取代正面光。所谓正面光，就是光线从正面平射到物象上。正面是阳，是受光面；背面是阴，是背光面。正面光的表现源于道家思想。Chinese paintings to form lines as the main means, especially since the Song and Yuan Dynasties, the text of the painter had been "to ink for" the light color on a secondary position, but also light and color in a state of separation, so some people mistakenly believe that: " Chinese painting is of the rhythm。 Do not light, the shadow will not。 "In fact, if there is no light on the painting, then a dark, be called a picture of how it? Therefore, Song Han Zhuo said: "brush to stand up Campaign-based, the depth of color ink used to distinguish between East and West and North-South backlit by the smooth surface, and so on。 "Zong Qing Qian further said:" The color paintings, non-lead Dan Jiang Qing of that is in the shades between the Hui "he said。" Yin and Yang "," Ming Hui "in the" Yang "and" Ming "refers to the light, only light colored Chinese painters is the philosophy of knowledge, the experience only。 Therefore, the Chinese Health and video artists do not have the original, derivative video, full brightness, color, and so the whole concept, but the light on the screen is divided into positive light, light fixed, flat light, and so on。 By modern Chinese painters of modern philosophy, modern science and modern aesthetic requirements of the affected, the light on the screen for the treatment has undergone enormous changes, while retaining some of the habits of the Chinese aesthetic, and bold breakthrough in positive light, fixed-plane The shackles of light, creating a new light-color language。 With bright lights, roof light, to replace Kai-positive light。 The so-called positive light, is light images from the front-Shedao on。 Yang is positive,
back of the Yam, is backlit face。 Positive light from the performance of Taoism。《老子?四十二章》中说：“道生一，一生二，二生三，三生万物，万物负阴而抱阳，冲气以为和。”“负阴抱阳”(即背面阴正面阳)是中国画光分布的一般法则。现代中国画家受现代光学、色彩学的影响，认识到以阳光为主的光源是多向的，光可以从正面来，也可以从上面、侧面、背面来，物象的受光面与画家对受光面的处理，也是多种多样的。在现代中国画中，有很多人使用强光。强烈的光线集中在画面的中部而不一定是正面。它的作用不仅在强调画面光的分布，也在强调某种意义，因而成为一种新的造型语言。以全景式构图，多空间的重迭组合去表现自然的“无限”。画面上的近景、远景均为弱光与暗部。画中的云水由强光表示。画面比较抽象，有巨然《秋山问道图》的意蕴，体现出入居于云水之间对人生、宇宙作形而上的思考与超越。这是美学上的思考与哲学上的思考的互融。此强光虽仍然是哲学的、经验的，但已完全不是道家的“道”，而是融合了相对论、现代哲学与科学的“道”。 Ancient "Taoist" founder - Lao-tzu in the article said: "Health, a life of two, three of Health, tertiary things, things which have negative yin-yang, salt air and that" he said。 "Negative yin-yang hold" (that is, the back Yam-positive) is the distribution of Chinese painting light of the general rule。 By modern Chinese painters of modern optics, the impact of color, to recognize that the sun is more oriented to the light source, light can be positive, but also from above, side, back, the images of the artists on the smooth and smooth The treatment is varied。 In modern Chinese painting, a lot of people use such lights。 Strong light on the central screen and not necessarily positive。 It stressed that the role not only in the light of the screen, also stressed a sense, has become a new modeling language。 A panoramic image, and more space to the portfolio performance of the natural overlap of "unlimited。" The on-screen close-range, low light and dark vision of both the Department。 The painting of cloud water from the glare said。 Comparison of abstract images, a giant Ran "Akiyama asked map" the implication, of living in cloud water access between life and the universe for the metaphysical thinking and beyond。 This is the aesthetic of thought and philosophical thinking of Hu Rong。 Although this is still light philosophy, experience, but has not completely Taoist the "Road", but the convergence of the theory of relativity, modern philosophy and science of "Road。"用跳动光、飘浮光取代固定光。古典画家按“负阴抱阳”的观念处理光，不考虑不同光源的光色和不同环境的光色对所画物象的影响，也不重视空气和画家视点与物象的距离对物象的影响，在表现正面光的同时，采用固定的垂直光分布。固定光使物象明暗分明、浮雕感强，但光的多样性、动态性与主观性却被隐没了。Beat with light, replace the fixed-floating light。 Classical artists on "negative yin-yang have" dealt with the concept of light, do not consider different sources of light and color of different colors of light environment by painting images of the impact, and not to air the images and artists from the perspective of the impact of images, In light of the positive performance at the same time, fixed the vertical distribution of light。 Fixed-brightness so that images clear, strong sense of relief, but the light of the diversity, dynamic and subjectivity has been hidden。现代中国画家受到现代审美动力学和欧洲印象派绘画的影响，开始打破固定光的束缚。程十发的《喂羊》、杨延文的《村妞》等作品中的光，都是不规则的、跳跃的。《改革之年》的画面上部有几道闪电般的光，从顶部早斜线射向中部。这种跳动的光，使整个画面受到震动，暗示改革势头锐不可挡，似乎讲述着改革之年人们奋发向上的冲劲。这种光不是依附于物象之上的，在独立发挥自身的功能。《村妞》使我们联想到蒙德里安的某些作品，但又与它不同。此画是用水墨染成的大都市朦胧夜景。朦胧的夜色中，各种灯光的闪烁、跳动，表现出大都市的喧器、繁荣和彻夜的骚动。画面上的白光、红光、黄光、蓝光以及长光、短光跳跃着，互相映照，把大都市夜生活渲染得淋漓尽致。这种对光的处理，既有民族“基因”，又有现代性，因此它必然能与世界美术接轨。画家们突破了传统固定光的观念，可能得益于现代科学的影响。固定光的基本功能在描绘物象的明暗分布上，主要是客观的。现代中国画中许多飘浮之光，则带有很大的主观性。张民生的《山光》中没有固定的光。强光分散在几个部位互不联系，没有统一的光源与光亮梯度，强光笼罩在某些物象之上。它主要不是说明物象之上真实的光分布，而是体现画家的主观意图――强调新时期山民新的生活。张海东的《红花图》，光分布更显得极不规则，随意飘浮。强光既不遵守透视规则也不囿于光分布的固定要求，有的落在人物的上身，有的落在人物的胳膊或脚上，有的落在飞鸟的头部或背景上。白色的强光与偏冷的红花形成对比，突出表现红花园中奏笛的三女于优雅的神态。飘忽的强光使清晰的画面变得有些朦陇，呈现一种含蓄的诗意美。张广俊的《竹乡初雪》画面：一轮皓月照亮一片被茂密竹林遮住，又时隐时现的在小山村上；这里船儿歇了，村庄“睡了”，雪儿在静静地下……；一切是多么的恬静。画家用“顶光”处理：被撒上朦胧月光的山村、小河与大地，竹林时隐时现，画中散落着白雪。这是自然美与心灵美的和谐融合。这种美的现代感很强，又在似与不似之间表现对象，抒发了画家的情思，表现出东方艺术的韵昧。By modern Chinese painters of modern aesthetic dynamics and the impact of the European Impressionist paintings, began to break the shackles of fixed-kwong. - 10 of the "Hey sheep," Yang Yanwen "Niu Village" and other works in the light, are irregular, the jumping. "Year of reform" You Jidao upper part of the screen lightning light, from the top as early as slash exposure to the Central. This beat the light, the entire screen by the vibration, suggesting that the momentum of reform Ruibukedang seems to be on the reform of the people to make progress in the drive. This light is not dependent on the images above, the independent play to its own function. "Village Niu" We think that some of Mondrian works, but with its different . This painting is stained with ink metropolis hazy night. Obscurity in the darkness, all the lights flashing, beating, showing the city Xuan, prosperity and the riots throughout the night. On the screen of white, red, yellow, blue and long - and short-jumping with each other reflects the city nightlife rendering most vividly. This light treatment, both national "gene", another modern, so it is bound to convergence with the world of art. Artists had to overcome the traditional fixed-concept, might benefit from the impact of modern science. The basic function of fixed-painted in the brightness of images, mainly objective. Many of the modern Chinese paintings floating in the light, with a lot of subjectivity. Of the people's livelihood, "Hill - "There is no fixed in the light. Light scattered in several parts are not linked, there is no uniform gradient of light and bright, bright lights shrouded in some images on. It is not the main note on real images of light distribution, but the subjective intent of the painter - that the new era mountain people a new life. Hai-Dong Zhang's "saffron map", a more even distribution of light is very irregular, free floating. Glare does not comply with the rules of perspective is not limited to a fixed-distribution requirements, and some people fall on the upper body, and some people fall on the arms or feet, and some of the birds landed on his head or background. And the white glare of saffron Pianleng contrast, outstanding performance in the Red Garden played in the 2007's and three women elegant expression. Piaohu the glare of the screen has become clear that some Meng Long, showing a subtle poetry of the United States. Zhang Guangjun "Zhu Xiang First Snow" screen: a Haoyue lit up by a dense bamboo forest cover, and when the time is now hidden a sm Chuaner hysteria here, the village "to sleep," Cher quietly in the underground……; Everything is very quiet. Painters "top light" treatment : Sprinkle with dim moonlight by the village, river and land, when bamboo is implicit when, paintings scattered in the snow. This is the natural beauty and soul of a harmonious integration of the United States. The contemporary United States such a strong, and in between it and do not like performance targets, to express the artist's Qingsi, showing the Oriental Art Yun Mei.三、&&&& 用点光、变调光取代平面光。我国除了一部分花鸟画外，大部分山水画、工笔人物画的色彩都是平面的。平面色彩之上的光缺少层次、冷暖、明暗变化，因此是平面光。现代中国画家从我国舞台美术、民间美术和西方现代主义绘画中吸取有益的因素，采用点光、色彩变调所呈现的有层次、有变化的光，来突破传统的平面光，并使这种光成为画面灵动活泼的语言。点光，就是把强光分解成许许多多的“点”，使之散落在画面的各个部分、各个角落，使画面的动力性增强，并呈现丰富多彩的光分布。姚卫国的《希望的早晨》，整个画面是偏冷灰调子。在一片暗灰色建筑物中，到处可见白色的亮点，把一所希望小学照亮。大大小小的亮点，似乎汇成了优美的旋律，奏响希望小学新一天的晨曲。闪烁的众多亮点，使画面富有动感，表现出早晨生机勃勃的景象。作者用被大大小小亮点包围的、饱和度不相同的偏灰紫小色块来构成画面，打破了传统重彩画的平面光画法，使画面显现出强烈的节奏感。这种节奏感的高潮在画面的远景――小学生举行升国旗仪式部分，红旗与众多白色亮点互相呼应，让人看到画面上不同形状光点的组合，都是为主题服务的。另外，我们在晁海的《晨曦》、孙玉香的《悠悠岁月》、牛锡珠的《护林人家》等作品中，都看到了作者使用点光来取代平面光，取得了良好的表现效果。&&&& 突破平面光的另一个有效方法是采用色彩转调光。色彩转调通常是由某种色相所呈现的冷暖、明暗变化体现的。朱建平的《世纪森林之春》中的群山是微微发红的绿色，森林是蓝绿色。作者用同一色调描绘同一类型的物象(群山与森林)而使不同树木与山峦区别开来，依靠的是色调的冷暖、明暗变化。作者不用线条勾勒，完全突破平面光，使画面的光在同一色调的冷暖、明暗对比中显现出来，使画面既保留了装饰性也显得很美，洋溢着诗情。 &3, with point-kwong, pitch shifter replace the light-plane. In addition to our part of Flowers and Birds Painting, most landscape painting, figure painting Meticulous colors are flat. Light plane on the lack of color levels, and well-being, the brightness changes, it is light plane. Modern Chinese artists from China's stage arts, folk art and modern Western painting and drawing useful, a point-kwong, presented by the color tone sandhi a level, the changes in light, to break through the traditional flat light, and that this light A screen Smart lively language. Point light, the light is broken down into so many "points" so that it scattered in various parts of the screen, every corner, so that the momentum of strengthening the screen and showed colorful light distribution. Yao Weiguo of the "hope that the Morning", the entire screen is Pianleng gray tone. In a dark grey buildings, the bright spot of white seen everywhere, a hope that the primary lit up. The bright lights of all sizes, it seems Huicheng a beautiful melody, played the hope that the new primary school day morning song. Flashes of the many highlights, so that the screen full of dynamism and vitality of the morning show scene. The author used was surrounded by large and small, bright spot, not the same degree of saturation partial gray color purple to a small screen, breaking the traditional Zhongcai Hua-painting the plane, the screen showed a strong sense of rhythm. This sense of rhythm in the climax of the vision of the screen - part of primary school students held flag-raising ceremony, the red flag with white highlights many echo each other, people see different shapes on the screen, a combination of light, are the theme of the service. In addition, we Chaohai in the "Operation Dawn", Sun Yuxiang the "long time", cattle-Chu's "forest people" and other works, the authors have seen the use of point-to replace the light plane made a good performance results . Another breakthrough flat-effective way is to use color-transfer. Color is usually transferred from a certain hue presented by the well-being, reflected in changes in brightness. Zhu Jianping of the "century of forest Spring" in the mountains is slightly redness of the green, the forest is blue and green. The author used the same color images depicting the same type of (mountains and forests) and makes different distinguish between trees and mountains, relying on the well-being is the color, brightness changes. Authors do not have to draw lines, totally breakthrough plane light, so that the screen in the light of the well-being of the same hue, brightness contrast in the show, so that the screen is to retain the decorative looks beautiful, filled with a poetic.[]本站网友
于 14:43:00发表评论：三、&&& 笔墨特点&&&&&&&& Third, the characteristics of ink&我国素有“书画同源”之说；不管书与画，所用的工具是相同的。行笔、运笔等技巧相同，中国书法是“以线造字”，而中国画历来是“以线造型”（以线条为主要造型手段）。尽管中国画的革新以色彩为突破口，并出现了大量的以色彩为主的现代作品，但是线条仍然起着重要的作用，传统绘画线条高超的表现技巧以及优秀的文化内涵，已经被继承下来并有所创新。因此，研究中国画线条的历史发展轨迹，使我们对中国画线条的继承与创新有一个更清醒的认识是十分重要的。中国画线条的突出特点是富有表现性，它是至今多数国家绘画艺术中的线条所难以企及的。China is known as "painting identity," regardless of books and paintings, using the tools are the same。 T Bank, Yunbi skills such as the same, Chinese calligraphy is "line-defined" and Chinese painting has always been a "line modeling" (lines as the main means of modeling)。 Despite the innovation of Chinese painting in color as a breakthrough point, and a lot of color mainly to the modern works, but the line still plays an important role in traditional painting lines superb performance skills and excellent cultural connotations, has been inherited and By innovation。 Therefore, the study of Chinese painting lines of historical development trajectory, so that we Chinese painting lines on the inheritance and innovation of a more sober understanding is very important。 Chinese painting lines is a prominent characteristic of the rich performance, it is so far the majority of countries in the art of painting the lines and by the level of difficulty。善于“牵着线条去散步”的德国现代主义大师克利说：“笔迹最关键的是表现而不是工整。请考虑―下中国人的做法。”中国画线条表现性技法的成熟虽然远远早于西方，但它不是一步到位的，而是经历了漫长的发展。不动的线到飞动的线。人类在原始社会所创造的线条，主要是直线、横线和圆线。由于使用这些线，人们就可以在画面上画出对象的结构，传达出所要传递的信息。此后随着文明的发展，人们又感到直线、横线和圆线比较呆板、僵硬和缺少动感和生命力，于是创造了一些波状的、粗细不匀的、富有张力的线条。我们从周代青铜器《饕餮簋》、汉代画像石《骑术》中可以看出，中国画线条从公元前十世纪开始就有了巨大的发展：从平实的线逐渐变为富有生命力的飞动的线条。这种变化是怎样表现出来的呢?Be good at "holding line to walk," the German modernist master Klee said: "The handwriting is the most crucial performance rather than Gongzheng。 Please consider - the practice of the Chinese people。" Performance lines of Chinese painting techniques while the maturity far earlier than the West However, it is not a one-step, but through a long development。 Fixed-line to move the line。 In primitive society created by human lines, is a straight line, horizontal line and the Circle Line。 As the use of these lines, people can object on the screen to draw the structure, to convey the message。 With the development of civilization since then, people also feel a straight line, horizontal line and the Circle Line relatively inflexible, rigid and lack of dynamism and vitality, thus creating a number of wavy, uneven thickness, full of tension lines。 We from the Zhou Dynasty bronze "Tantalizing GUI", the Han Dynasty stone portraits of "Riding" can be seen in Chinese painting lines from the 10th century BC, there will be a huge development: from the line-is full of vitality into the gradually-moving Lines。 This change is reflected in how it ?这要从线条的位置、运动方向、张力等方面来研究。首先，这两件作品中出现了波状线(亦称蛇形线)。这种线条的位置与方向不像直线那样固定，它好象是在摆动而且活动的方向不确定，这样在视觉上就给人以动感。其次，这两件作品中的线条不像以往直线那样平直均匀，而是有粗有细，由此可知，作者在运笔时所用的力度和速度是不均匀的。这种力度与速度的不同，就表现出线条在空间与时间上的运动，因而给人以动感；再次，我们从饕餮头部的向相反方向夸张性运动的线条中，从马的四条腿最大限度地向不同方向伸展的姿态中可以看出，作者企图通过线条的巨大张力来表现饕餮、马的奋进，使青铜器、石头上的动物给人视觉上强烈的运动感。正是通过这种运动感，才使作品表现出极强的生命活力。从轮廓线到表现结构、空间、亮度的条。有些人常用“单线平涂”来概括中国画的特点，这是不确切的。单线平涂是人类早期绘画的共同特点。自汉末后，中国画的特点就难以用单线平涂来说明了。轮廓线尉旨所画物象的周边线。它面对的是所画物象与它所处空间的关系，因此它只是把某一物象从大的背景中分离出来，而无法显现这一物象的内部结构和光分布。自从中国画家创造了独特的皴法、描法以及擦染之后，对物象内部结构与光分布的处理，就不是借助透视法、明暗法，而是以本民族独特的表现形式描绘出来。从五代时董源的《潇湘图》中，我们可以看到中国画线条的发展变化：五代时董源的《潇湘图》（934～960)&(934 to 960) during the painter yuan-dong "Xiaoxiang" Chinese PaintingThis line from the location, direction of movement, tension, and other areas to study。 First of all, these two works in a wavy line (also known as snake-like line)。 The location of such lines and not a straight line as fixed direction, it seems to be swinging in the direction of uncertainty and activities, so that people with visual on the dynamic。 Secondly, the two entries in the past, not straight lines as straight uniform, but there are a small rough, So, the author Yunbi used by the intensity and speed is uneven。 Such intensity and speed of different lines on the show in space and time on the campaign, w again, we Tantalizing head in the opposite direction of exaggerated movement of lines, from the largest four-legged horse Limits to the extension of the different directions can be seen in the gesture, the author attempting to use the enormous tension lines to performance Tantalizing, Ma rousing, bronze, stone on the animal gives a strong visual sense of movement。 It is through this sense of movement, so that it works shown strong vitality。 From the contour of the performance, space, the brightness of。 Some people used "single-Ping Tu," to summarize the characteristics of Chinese painting, this is incorrect。 Single-Ping Tu is a common human characteristic of the early paintings。 Since the Late Han Dynasty, the characteristics of Chinese paintings will be difficult to use a single, clear-coated。 Contour Wei purpose by painting images of the surrounding line。 It is the face of the painting and its images in which the relationship between space, it is only a background of images from the separated, and can not show the images of the internal structure and light distribution。 Since the Chinese artists to create a unique Cunfa, depiction and rub into law, the internal structure and optical images of the treatment, not with perspective, shading, but to this nation unique form of expression painted out。 From the Five Dynasties period, Dong Yuan "Xiaoxiang map", we can see the development of Chinese painting lines changes:此画用轮廓线界定了山的空间位置和整体走势后，对山体内的各个组成部分，均以长披麻皴线条加点来表现。众多披麻皴线条与点的有序排列，一方面刻画出山岭在一定光线照耀下的皴纹，另一方面表现出山体内各个部分的有机组合，从而有效地描绘了山体的结构。这些表现结构的皴线、点与轮廓线融合后，山的雄姿秀态就尽眼底了。This painting used to define the contours of the space-location and the overall trend, Duishan the various components of the body, are in long lines Phi Ma Cun points to increase performance。 Phi Ma Cun many points of the lines and orderly, on the one hand sculpts the mountain in a certain light shining under the Cun Wen, on the other hand Chushan performance in various parts of the organic combination, effectively depicts the structure of the mountain。 Cun performance of these lines, points and contour integration, Hill Xiongzi show on the state to the eyes。此画没有用透视法照样画出物象的空间和距离，是由于画家灵活运用了皴线和点。画面的远景部分，画家用的是较短、较小、较淡的皴线与点；近景部分，则用较长、较浓的皴点；山体背阴的部分，用较浓的短线与点；各个山头用重迭法画出，画家用这些方法表现出山体的纵深感。有人认为这种方法没有透视法科学准确。当然，按透视法画出的物象显很逼真。但是，格式塔心理学家指出：透视法的准确是建立在透视缩短与透视变形基础上的，它仅仅是在二维空间表现三维幻觉，是对眼睛的“欺骗”。因此，我们不必用透视法来苛求用皴、点与重迭法来表现物象空间距离――“深度”的中国画。This painting does not use the same perspective to draw images of space and distance, is due to the painter flexibility in the use of the Cun lines and points。 Screen the vision of the artist using a shorter, smaller, lighter and Cun-point close-range part, with longer, the Jiaonong C Beiyin part of the mountain, with the short-term and J Overlap with the various sects of paint, the artists use these methods Chushan performance of the Zongshen Gan。 Some people think that this method does not accurately scientific perspective。 Of course, the perspective of the images painted in very realistic。 However, the Gestalt psychologists pointed out: Perspective is built on the exact perspective and the perspective reduced on the basis of the deformation, it is only two-dimensional space in the performance of three-dimensional illusion, the eyes of "deception。" Therefore, we do not have to use perspective to expect with Cun, the points of overlap and show images from space - the "depth" of Chinese painting。此画没有用明暗法也画出了物象的光分布。这是因为画家利用皴线有疏有密的排列与部分留自来描绘山体的明部与暗部。显然，这幅画似乎没有固定光源和合乎比例的明暗层次(亮度梯度)，但这样的作品并不像有人说的只强调线条韵律不要光，而是采用垂直光分布、正面光(正面留白)来表现光亮，背面、侧面用密集的短皴与点来表现。这种特殊的正面光与明暗分布法，源于道家哲学“万物负阴而抱阳”的观点。董源之后，画家们又把皴与擦融为一体，&&& 进一步表现了物象的明暗层次，色彩的渲染对用皴擦表现光分布也起了辅助作用。这样在表现光的过程中，各种线条一直起着主导作用。董源作品中的线条组合，不仅表现了物象的光分布，而且表现了空气的湿度――南方群山的华滋湿润、苍茫葱郁。这是在西洋画中难以见到的。 &This painting is of no use to draw the shades of images of light distribution。 This is because the artists use Cun lines are infrequent and are of the order to remain part of the mountain of unsolicited depict the dark and the Department of the Ministry。 It is clear that the painting did not seem to be a fixed proportion of light and shades (brightness gradient), but this does not work like some people say that the rhythm of lines that will not only light, but use of the vertical distribution of light, a positive light (positive blank ) To performance Bright, back, side with the short-Cun and point performance。 This special positive light and dark distribution method, derived from Taoist philosophy of "all things which have negative yin-yang" point of view。 Dong Yuan, painters and wipe again Cun integration, further demonstrated the shades images, the color rendering of using performance-Cun wiping distribution also played a supporting role。 This performance in light of the process, the various lines has played a leading role。 Dong Yuan works in the combination of lines, not only the distribution of images of light, but also the humidity of the air - the southern mountains, mayonnaise and humid, lush Cangmang。 This is in Western painting it is difficult to see。从”存形”的线条到抒情的线条。在唐代以前，中国画以反映社会生活，描绘明君、忠臣、烈士、贞女等人物为主。在留下历史人物真容方面，绘画优于其它著作，所以陆机说：“存形莫善于画。”习附的绘画线条功能主要在服务于“存形”，即真实描绘客观对象。From the "shape of" the lyric lines to the lines。 Before the Tang Dynasty, Chinese painting to reflect the social life, depicting Mingjun, loyal, martyrs, Zhennv such as the main characters。 The capacity to stay true historical figures, the painting is superior to other works, Lu Ji said: "The shape of good at-painting。" Habit of painting lines in service at the main function "of shape," painted an objective that is the real target。&&&& 自从宋（960―1279年）、元（1271年―1368年）以后，中国画由以人物为主，逐步转为以山水、花鸟为主，由反映社会生活、描绘历史与现实人物为主，转向以描绘自然景物来折射社会生活，抒发画家感情为主。为了服从这一目的，画家们对线条作了大胆的革新，创造了具有独立审美价值的抒情线条。这种抒情线条与写实性线条的主要差别在以下两个方面。第一、抒情线条特别重视线条的自身张力。所谓张力，简而言之，就是一种相反相成的力。线条张力可分组合张力与自身张力两种。顾恺之仅用横线条与倾斜卷曲的线条组合，就刻画出了人物的形貌与动态。然而他用的这种线条均匀细长，自身并无明显张力。Since the Song Dynasty (960-1279), Yuan Dynasty (), the Chinese paintings from the main characters, and gradually into the landscape, birds and flowers mainly from the social life, depicting historical figures and reality-based, to To Refractive to depict nature of social life, to express feelings of the main artists。 To submit to this end, the painter who made the bold lines of innovation, creation of the independent aesthetic value of the lyric lines。 This lyrical lines and realism of the main differences between lines in the following two aspects。 First, the lyrical lines attached particular importance to the self-tension lines。 The so-called tension, in a nutshell, is a contrast Xiang-cheng of the force。 Tension combination of tension lines can be divided into two with its own tension。 Gu Kaizhi only horizontal lines and tilt curly lines portfolio, depicts a figure on the morphology and dynamics。 However, he used the uniform of this slender lines, there was no apparent tension itself。梁楷的《六祖斫竹图》、倪云林的《紫芝山房图》、华岩的《金谷园图》等，就与顾恺之的线条不同了，其线条借鉴了书法线条的特点，自身具有明显的张力。画家在画线条时，不仅像书法家那“欲左先右”、“欲上先下”，而且要使线条有虚有实、有曲有直、有浓有淡、有轻有重、有粗有细、有断有续、有行有留等等。把以前平直、均匀、细韧的线条变得曲折顿挫、千姿百态，极富情致。画家复杂多变的情感，借助这种多姿多变的线条得到了充分的宣泄。这正是中国画线条发展到高级阶段所呈现的奥秘与