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北宋郭熙提出了“三远”的观点,成为中国山水画创作的一个理论支柱。“山有三远,自山下而仰山巅谓之高远;自山前而窥山后谓之深远;自近山而望远山谓之平远。高远之色清明,深远之色重晦,平原之色,有明有晦。高远之势突兀,深远之意重叠,平原之意冲融而缥缥缈缈。其人物之在三远也,高远者明了,深远者细碎,平远者冲淡;明了者不短,细碎者不长,冲淡者不大。此三远也。”这是关于三远的原文。三远法是对中国山水画构成二维空间表现的理解,中国传统山水画与西方风景画的透视有很大的差异,表现在山水画中常采用“多视点”、“高视点”和“远视距”的方法。
The Northern Song Dynasty Guo Xi put forward the “three far” point of view, become the Chinese landscape painting a theoretical pillar. “There are three mountains, from the bottom of the hill and Yangshan top that lofty; from the front of the mountain and peep after the far-reaching; from the mountains and the distant mountains that far away. Lofty color Ching Ming, far-reaching color dark, plain Color, there are bright and dark .Large trend of abrupt, far-reaching meaning of overlap, the meaning of the plain blunt and 缥 缥 缈 缈 .The characters in the three far also, lofty people, far-reaching crushing, far away those who dilute; Short, broken are not long, not dilute .This three far too. ”This is the text of the three far. The three-distance method is a comprehension of the two-dimensional spatial representation of Chinese landscape painting. The traditional Chinese landscape painting differs from the perspective of the Western landscape painting in many aspects, such as “multi-viewpoint”, “high viewpoint” and “ ”Distance farsightedness" approach.