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在中国画的变革与创新中,艺术风格和艺术样式上的变化几乎成为每一个画家自觉追求的目标。随着中国画革新的不断深入,艺术家越来越明确地意识到:艺术风格与艺术样式的变化,其实就是艺术语汇的变化。因此,对艺术语汇的研究,可以帮助我们思考这个既从属于又超越于物象的构成要素,但同时也具有独立性能的自在之物。 从吕绍福的山水画中,如果单独拈出最能反映他的艺术特色的语汇特征,恐怕用“韵味”来描述是最恰当不过的了。当然,“韵”曾经是中国古代文人画家十分重要的艺术特征。它有其特定涵义,诸如天趣、稚拙、高古等等,是一种很高的艺术境界。但在吕绍福的作品中却主要表现为空灵润泽、朦胧虚幻、形约气和的艺术特点,有着“韵”和“远”的境界。用现代术语描述,可概述为一种“空间意识”。我始终认为,艺术作为一种语汇特征,它可
In the transformation and innovation of Chinese painting, the changes in artistic style and artistic style have almost become the goal that every artist consciously pursues. With the deepening of the innovation of Chinese painting, artists are more and more clearly aware that the change of artistic style and artistic style is actually the change of artistic vocabulary. Therefore, the study of artistic vocabulary can help us to think about this self-contained thing that belongs to and surpasses the elements of the image, but at the same time has its own independent performance. From Lu Shao-fu’s landscape paintings, it is most appropriate to describe the meaning of “charm” if the vocabulary features that best reflect his artistic features are taken out separately. Of course, Yun was once a very important artistic feature of ancient Chinese literati artists. It has its specific meaning, such as the theme of love, naive, high ancient and so on, is a very high artistic realm. However, in Lu Shao-fu’s works, he mainly displays the artistic features of ethereal, obscure, unconventional, and temperamental, with “rhyme” and “far” realm. Described in modern terms, it can be summarized as a kind of “spatial awareness.” I always think that art as a linguistic feature, it can