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所谓虚者,空也,所谓实者,有也。在进行山水画的创作过程中,经常用到虚中有实,实中带虚,从而使得山水画中体现出笔墨的轻重不同,墨色的浓淡不同,布景的疏密不用等,从而使整个画面空间不断变化,丰富多彩。在中国的山水画中,虚实关系更能表现出的是一种神韵,往往能够将画外的意境之美表现出来,是画家精神世界和自身感悟的最佳体现。需和实相辅相成,使得画作更加饱满和新奇。文章从虚实手法在中国山水画中的作用出发,对虚实手法在中国山水画中的表现做了有关论述。
The so-called imaginary, empty also, the so-called real, there are. In the process of creating landscape painting, we often use the virtual reality, the real in the virtual, so that landscape painting reflects the different levels of pen and ink, different shades of ink, density of the set need not wait, so that the entire picture of space Change, colorful. In the landscape paintings of China, the relationship between the actuality and the actuality can show a kind of charm more and more, often showing the beauty of artistic mood outside the painting, which is the best manifestation of the artist’s spiritual world and its own sentiment. To be honest and complementary, making the painting more full and novelty. The article starts with the function of the actual and the actual in the Chinese landscape painting, and discusses the performance of the actual and the actual in Chinese landscape painting.