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历来精彩的中国画,大多把水墨发挥得淋漓尽致,甚且时或达到无须色彩来表达的境界。八大山人画,即是一例;蒋兆和画,也是一例。 也许正是水墨的良性运用而带来的优势,时或使我们减弱了对色彩的运用或对色彩的张扬。自然,中国画的巅峰,绝不介意于色彩的锦绣与否,但,色彩的运用,无疑是当今中国画家注目的所在之一,说说中国画中的色彩问题,绝非下午茶、喝喝咖啡这般小可之事。 我说,让我们弹起色彩这根弦!
Chinese paintings, which have always been brilliant, mostly give their ink and wash the most vivid expression, even when they reach the realm without color. Bada Shanren painting, that is an example; Jiang Zhao and painting, is an example. Perhaps it is the advantage brought about by the benign use of ink and ink that weakened the use of color or the publicity of color. Naturally, the pinnacle of Chinese painting is absolutely not mindful of whether the color is beautiful or not. However, the use of color is undoubtedly one of the most prominent areas of contemporary Chinese painters. To talk about the color issue in Chinese painting is by no means an afternoon tea or a cup of coffee. As small as possible. I said, let’s bounce this string!