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关于色彩问题中国工笔重彩画与西方的油画、水彩画,虽然都是色彩画,但是,在用色原则和设色方法上是有很大区别的。这些区别正是中国工笔重彩画色彩上的特点。西方的油画、水彩画是直接用色彩塑造形体的,而中国的工笔重彩画是在用墨线所塑造的形体基础上设色的。中国工笔重彩画的设色遵循南齐谢赫《六法论》中“随类赋彩”的原则,即按物体的固有色进行设色,不追求环境色对物体固有色的影响所产生的色彩变化。塑造物体的体积感,主要靠色彩的深浅变化来表现。西方油画,水彩画塑造物体的体积感主要通过色彩的寒暖对比来表现。工笔重彩画画面色彩的和谐统一,要由作者巧妙地掌握和运用色彩的不同明度、纯度和色块大小所形成的对比而取得。工笔重彩画的色彩与工笔重彩画的形象塑造、线条处理、构图安排等是一致的。具有很强的装饰性。中国画家把自然界中的形象进行提炼、加工变为画家意象中的形象。色彩也是一样,自然界中的
On the issue of color China sighs and Western painting, watercolor painting, although all color painting, but the color principle and color-setting methods are very different. These differences are the characteristics of China’s heavy color painting. Western oil painting, watercolor painting is the direct use of color to shape, and China’s heavy tai painting is in line with the shape of ink line shape. According to the principle of “class assignment” in Sheikh Six’s Theory of Nan Qi, the coloring of Chinese heavy color painting is based on the inherent color of the object, and does not pursue the color change caused by the influence of the environmental color on the natural color of the object . Shape the volume of objects, mainly by the color depth of change to performance. Western painting, watercolors shape the sense of volume of objects through the color of the cold contrast to the performance. The harmony of the colors of the tweezers should be controlled by the author’s clever grasp and use of the contrast of the different lightness, purity and color of the color. Meticulous color painting and color heavy painting image shaping, line processing, composition and composition are the same. Has a strong decorative. Chinese painters refine the image in nature and transform it into an image in the artist’s image. The same is true of color, in nature