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中国水彩画家在艺术创作中注重对中国艺术传统美学观念的借鉴,其中对于“气韵生动”美学观念的借鉴卓有成就,值得探讨。一、“气韵生动”在中国绘画美学中的地位及其含义“气韵生动”是中国古典美学最为重要命题之一,最早出现在南朝谢赫的《古画品录》书中。《古画品录》把“气韵生动”列为绘画“六法”之首.唐张彦远在《历代名画记卷一·论画六法》说:“今之画,纵得形似,而气韵不生,以气韵求其画,则形似在其间矣……若气韵不周,空陈形似,笔力未遒,空善赋彩,谓非妙也.”宋郭若虚曾在《图画见闻志·论气韵非师》中谓“六法精论,万古不移”。
Chinese watercolorists pay more attention to the traditional aesthetic concepts of Chinese art in their artistic creation. Among them, the outstanding achievements in reference to “vivid” aesthetic ideas are worth discussing. First, “Vivid and vivid ” in Chinese painting aesthetics status and its meaning “Vivid and vivid ” is one of the most important propositions of Chinese classical aesthetics, first appeared in the book of ancient paintings Catalog of the Sheikh in the Southern Dynasties. “Ancient Pictorial Record” ranked “Vivid Vivid” as the first of its kind in painting “Six Methods.” Tang Changyan said: The qi rhyme is not born, with qi Yun seeking its paintings, the shape of the like in the meantime ... ... if the rhyme is not good, empty Chen shape, pen force is not empty, good flair, that is not wonderful. Chi on the rhyme non-teacher “in the predicate” Six fine theory, forever ".