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西方绘画艺术注重真实,再现物象的客观形象,通过用色、造型和营造空间等手段,呈现给观者的是一种接近实景的艺术效果。但中国绘画艺术是将“得意”作为绘画的目标,描摹物象的客观表象并不是画家主要目的,画家更加注重创作个体对物象的内在观照,如郑板桥在谈画竹中所云“江馆清秋,晨起看竹,晨光日影露气皆浮动于疏枝密叶之间。胸中勃勃,随有画意”。郑板桥关注的是晨光露气在疏枝密叶之间浮动的景致气象,而并非竹子本身。使自然之物化为胸中之物,胸中之物又因情而发,在观察对象中的达到一种物我相溶的状态,出于胸而归于自然。在描绘对象的时候,在一定程度上摆脱形,色,质及空间的束缚,有时为了“得意”的需要,甚至大大削弱它们,追求形式内的独特韵味,使画面的空间摆脱形的束缚,营造一个足够表达内在精神气质的,可以玩味的自足空间,认为“意”的表达是艺术传达的最高境界。中国的意象油画的本质也得益于此!
Western art focuses on the reality, the objective image of the reproduction of the image, through the use of color, shape and create space and other means, presented to the viewer is a realistic effect of the art. However, the art of Chinese painting regards “triumphant ” as the object of painting. The objective representation of object painting is not the main purpose of the painter. The painter pays more attention to the internal view of the individual creation of objects. For example, Clear autumn, early morning look at bamboo, morning sun exposure are floating in the branches between the dense leaves. Zheng Banqiao is concerned about the morning weather drifting between the branches and leaves of the floating landscape, rather than the bamboo itself. The nature of the material into the chest thing, the chest of things because of the situation and made in the observation of objects to achieve a state of mutual compatibility, out of the chest and nature. In depicting the object, to a certain extent, get rid of the shackles of form, color, quality and space, and sometimes even in order to “proudly ” needs, or even greatly weakened them, the pursuit of the unique flavor within the form, the picture space to get rid of the shape Bound, to create a sufficient expression of inner spiritual temperament, can playful self-sufficient space, that “meaning ” expression is the highest state of artistic communication. The essence of Chinese imagery also benefits from this!