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在传统绘画中,“写生”一词最初主要指花鸟画的范畴,从五代时期黄筌的《写生珍禽图》中我们可以看到,当时画院画家通过对“生物”的细致观察,在生物的形态特征及神态生意等方面的表现已经非常成熟了,但在当时写生的主要目的还是以熟悉被表现对象并写其生机为主。在山水画中,无论是荆浩、范宽的危坐终日、悟对空山,还是黄公望的徘徊富春江岸以描笔见景辄摹;无论是王履的目师华山,还是黄宾虹先生的写生小稿,都脱离不了宗炳“卧游”和“以形媚道”的文人理念。写生从“可望”、
In traditional painting, the term “sketch” primarily refers to the category of flower-and-bird painting. We can see from Huang Zhuan’s “Picture of the Treasure of Preserving Birds” of the Five Dynasties period when the painter and painter at that time carefully observed the “creature” , Has been very mature in the aspects of biological morphological features and demeanor business, but at the time the main purpose of sketching was to familiarize with the objects to be expressed and to write about their vitality. In landscape painting, whether it is Jing Hao, Fan Kuan’s sit-in all day long, enlightened on the empty mountain, or Huanggong Wang’s wandering the Fuchun River Bank to describe the pen to see Miao Jing; both Wang Lu’s Huashan, or Mr. Huang Binhong sketch Manuscripts are inseparable from the Zong Bing “lying ” and Sketching from “hope ”,