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中国画千百年来多以墨色为主体,充盈遮盖了整个艺术苍穹。“墨分五色”成为欣赏中国画、体味色彩的单一标准,极具玄学意味。而占半壁河山的色彩原理被置于一旁,或轻描淡抹成为浓、淡、干、湿墨色之附庸。余在五彩缤纷的西方艺坛,吸取和采撷精华,并运用西方颜料和中国颜色混合使用,使中国宣纸在多次泼彩积色后,发挥最大程度的渗透性、融合性和包容性,创造色彩丰富瑰丽、浓艳脱俗的“积彩色调山水画”。余研创的色彩中国画,挣脱了单一的中国传统审美绘画体系,以鲜明的粉色和水性色交错使用,多次以透明的色彩沉积,也以浓烈之色覆盖迭加,传统的笔墨退居次要地位,或平分秋色,或退到了画面的深处作为一个底韵托
Chinese painting for centuries to ink as the main body, filling the entire art sky. “Ink points five colors ” become a single standard to appreciate Chinese painting, appreciate the color, very metaphysical meaning. The color principle, which accounts for half of the country, is set aside or lightly browned to become a vassal of thick, light, dry and wet ink. In the colorful western art scene, I absorb and pick essences and use Chinese pigments in combination with Chinese colors to create the most permeable, inclusive and inclusive Chinese rice paper after many times Rich and magnificent, rich and colorful refined “plot color landscape painting ”. The color Chinese paintings of Yu Yanchuang break free from the single Chinese traditional aesthetic painting system. They are interlaced with vivid pink and water colors. They are often deposited in transparent colors and are also overlaid with intense colors. To status, or equal shares, or retreated to the depths of the screen as a Mo Yun Tuo