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中国山水画的发展历经沧桑,历史上许多著名的山水画家在其创作过程中是以写生为基础的,并在写生创作过程中总结出“外师造化中得心源”的艺术理论。北宋时代范宽、关仝、李唐、郭熙等山水大师们的巨制,无不是“穷其物理”的“写生”之后的经典之作。笔者这里指的写生,不仅包括了直接用毛笔等绘画工具的对景写生,也包括了观后靠回忆而画的作品。相传范宽在中条山,华山一带几经寒暑,而作《溪山行旅》。五代荆浩亦在《笔法记》中说自己在太行山中携纸写生松树万株。明代的王履历尽艰险而画《华山图册》,清代的石涛则云游大江南北,“搜尽奇峰打草稿”来创作。近代的黄宾虹、傅抱石、李可染等山水画家的写生作品也是精彩之至。他们虽然各自的写生方法不同,但都未离“师造化”、“得心源”的总体创作观与创作态度。 无论山水画的对景、写生或是记忆默
The development of Chinese landscape painting has experienced vicissitudes of life. Many famous landscape painters in history have based on sketching in their creative process and summed up the artistic theory of “the source of heart from outsiders’ good fortune” in the process of sketch creation. In the Northern Song Dynasty, Fan Kuan, Guan Tong, Li Tang, Guo Xi and other masterpieces of landscape masters are all the classic works after “sketch” of “poor physics”. The author’s sketching here refers not only to sketch sketching directly using painting tools such as calligraphy pen but also works of art which are drawn by memories after the concept. It is said that Fan Kuan in the strip, Huashan area after several cold and heat, and as “Creek trip.” Five generations of Jing Hao also said in the “Writing Notes” in the Taihang Mountains carrying paper pine trees. In the Ming dynasty, Wang Hsiao tried hard to draw “Huashan Atlas”, while in the Qing dynasty, Shi Tao wandered the river from north to south, searching for drafts of Qi Qifeng. Modern Huang Binhong, Fu Baoshi, Li Ke-dye and other landscape painter’s sketching work is wonderful. Although their sketching methods are different, they are not separated from the overall creative concept and creative attitude of “making good fortune” and “getting a good heart”. No matter landscape painting, landscape painting or memory silence