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自唐张彦远提出“书画异名同体”和“书画用笔同法”说后,至元代,“以书入画”首先在黄公望、王蒙、倪瓒、吴镇等四家中付诸实践,使中国画学发生了根本性的转折,笔墨的独立能力得以凸现。又及清道咸时期,随着“碑学”的形成,金石笔法融入绘画,这一发现与创举,成为了清人在画学上的重要成就。而全面倡导“书画同源”“以书入画”理论,并躬耕一生,由此生变笔法体系而臻大成者,则是黄宾虹。黄宾虹的用笔之道,不仅发展了中国画学的笔墨传统,而且体现了中国画学在笔墨构成形式上的现代意向。是他实现了由古典向现代的转型,为之发扬光大,继往开来。
Since the Tang Dynasty ZhangYanYuan proposed “calligraphy and painting of the same name ” and “calligraphy and painting with the same method ” said, to the Yuan Dynasty, “book into the painting ” first in HuangGongWang, WangMeng, NiZan, Put into practice at home, the Chinese painting has undergone a fundamental turning point, pen and ink independence ability to be highlighted. In addition, during the Qing dynasty and salty period, with the formation of “Inscriptions ”, the discovery and creation of the golden stone style into the painting became the important accomplishments of the Qing people in painting. The full advocate “painting and calligraphy ” “book into the painting ” theory, and Gonggeng life, thus changing the style of writing and reaching the culmination, it is Huang Binhong. Huang Bin-hong’s pen-writing approach not only developed the pen and ink tradition of Chinese painting, but also reflected the modern intentions of Chinese painting in terms of composition. It is his realization of the transition from classical to modern, to carry forward, future.