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龚贤和黄宾虹可以说同样是中国绘画史上对积墨法的运用作出巨大突破的两位大师,但在他们的画面上却呈现出截然不同的笔墨语言和构图形式。本文从龚贤和黄宾虹各自不同的笔墨语言出发,探讨画家在处理画面的统一性时是如何针对自身特定的笔墨语言选择不同构图形式与之协调,从而生成不同的艺术境界。
Gong Yin and Huang Binhong can be said to be equally the two great masters who made a tremendous breakthrough in the history of Chinese painting on the use of the law of accumulated ink, but on their pictures they showed quite different forms of written language and compositions. This article starts from the different pen and ink languages of Gong Xian and Huang Bin-hong, and explores how the painter can choose different composition forms to coordinate with each other’s specific pen-and-ink language when dealing with the unity of the picture so as to generate different artistic realms.