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中国画的笔墨和“气韵”是画论和绘画美学非常重要的两个范畴和命题,中国画论和美学对这两个词有很多的解释、论述,并提出了与这两个词有关的许多的命题,他们大多都论述了中国画的“气韵”、画面笔墨的表现,笔墨与“气韵”之间的关系等,但论述笔墨的“气韵”方面文章就很少了。本文在论述中国画笔墨的变化的“气韵”时,先从谢赫六法提出的“气韵”、“骨法”与荆浩的“气”、“韵”、“笔”、“墨”的命题为切入点,论述了“气韵”与笔墨的关系。并以“气韵”与笔墨的关系为理论基础,结合绘画理论和实践论述了中国画笔墨的笔气、笔力、笔势、墨韵、笔韵等名词,再结合大量的绘画理论、画论观点和中国画美学论述了中国画笔墨的“气韵”。
The two aspects and propositions are very important in painting theory and painting aesthetics. Chinese painting theory and aesthetics have many explanations and expositions on these two words, and have put forward the two categories related to these two words Many propositions, most of them discuss the relationship between the “Qi Yun” of Chinese painting, the performance of the painting and calligraphy, the relationship between the brush and the ink and the “Qi Yun”, but there are few articles on the “Qi Yun” . This article discusses the “Qi Yun” in the changes of Chinese painting brush and ink, first from “Qi Yun”, “bone method” and Jing Hao “Qi ”Pen “, ”Ink“ proposition as the starting point, discusses the relationship between ”Qi Yun“ and pen and ink. Based on the relationship between ”Qi Yun“ and brush and ink, this paper discusses the nouns, strokes, gestures, ink rhymes and rhymes of Chinese painting and calligraphy based on the theory and practice of painting. Combining with a great deal of painting theory and drawing theory And Chinese painting aesthetics discusses the ”charm" of Chinese painting and calligraphy.