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随类赋彩色彩相和——中国画的色彩法则,传统中国画里墨与色的冲突,在理论上产生极大的不谐调,以“水墨为上”的思想指导下中国画在色彩上存在着巨大的缺陷,古代早期壁画对色彩的极大热情和张扬给我们在传统艺术上两方面的启示和思考,中国绘画的色彩艺术在表现形式上,在画底、颜色的研制和使用上都有着丰富的完整的独特的功能和严谨的程序。中国画的色彩,不拘泥于光源冷暖色调的局限,比较重视物体本身的固有色,而不去强调在特殊光线下的条件色。画那一件物品,就赋予那一件物品的基本色,达到色与物、色与线、色与墨、色与色的调和。
With different colors and colors - The color rule of Chinese painting, the conflict between the ink and the color in the traditional Chinese painting, have a great deal of disharmony in theory. The Chinese painting exists in color under the guidance of “ink and wash on ” A huge flaw, the great enthusiasm and publicity of the color of the early ancient murals give us enlightenment and reflection on two aspects of traditional arts. The color art of Chinese painting is both in form and color in the form of expression and use Has a wealth of complete unique features and rigorous procedures. The color of Chinese painting does not rigidly adhere to the limitations of the light and dark colors of the light source, and pays more attention to the intrinsic color of the object itself rather than emphasizing the condition color under special light conditions. Painting that one item, it is given the basic color of an item, to achieve color and objects, color and line, color and ink, color and color harmony.