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历史悠久的中国绘画,有着传统审美习惯和所用工具材料中“墨”的局限。历代画家在创作实践中“重墨轻色”,把墨法的研究视为重中之重,致使墨的运用发挥到了淋漓尽致,有“知白守墨”、“墨分五彩”、“水墨为上”之说。而敷色,则被当作水墨不足时的辅助手段,即所谓“水墨胜处色无功”(李可染题画句),“色不过五”等等。也正是由于过多关注墨法的运用,从而减弱了对绘画中色彩的追求。崇尚传统的画家评画以“雅”、“俗”论高下。明代王绂在“论道”中,把“追求华丽的色彩效果(“丹华夸目”)视为甜、俗的表现特征”(引自《中国古代绘画理论发展史》159页)。特别是元代之后的文人画崇尚“空灵与淡雅”、认为“墨晕既足,设色亦可,不设色亦可”。
The long history of Chinese painting has the limitations of “ink” in traditional aesthetic habits and the tools and materials used. Ancient painters in the practice of “heavy ink and light color”, the study of the ink as the top priority, resulting in the use of ink to the fullest, with “knowing the white keep ink”, “ink and color”, “ink for the” Said. The color, it is used as an auxiliary means when the ink is low, the so-called “ink wins color reactive” (Li Keran inscribe sentence), “color is five” and so on. It is precisely because too much attention to the use of Mo Fa, thus weakened the pursuit of color in the painting. Advocating the traditional painter commentary to “elegant”, “vulgar” theory. Wang Ming in the Ming Dynasty regarded the pursuit of gorgeous color effects (“Danhua’s exaggeration”) as sweet and vulgar expression characteristics in “On Tao” (quoted from “History of the Development of Ancient Chinese Painting Theory”, p. 159). In particular, the literati paintings after the Yuan Dynasty advocated “ethereal and elegant,” saying that "the ink is neither fickle nor violent, nor can it be tinted.