绘画中的变形

• 作 者: 彭德
• 出 处: 西北美术
• 发表日期: 1984年02期
• 关键词: 绘画 超级现实主义 马蒂斯 现代画家 毕加索 帛画 纤毫毕现 楚墓 克洛斯 中国绘画

绘画变形,犹如怪味豆,听其名逆耳,品其味可口.人们爱把绘画变形同马蒂斯与毕加索等人相提并论.其实变形并非这些现代画家的发明.中国绘画自古以来就是讲究变形的.从西安半坡出土的彩陶到湖南楚墓中的帛画,从江陵的先秦漆绘到敦煌石窟的历代壁画,从宋元文人画到明清年画,均无例外.可以说,变形是我国传统绘画的一大特征.广义而论,任何绘画都是变形的.古希腊巴尔修斯画的布幔,乱真程度骗过了写实大师邱克西斯的眼睛;现代“超级现实主义”画家克洛斯的巨幅人像,连汗毛孔的刻划也纤毫毕现.但他们都无法回避起码的变形程序,即将三维的物体转化为二维的幻象.他们的作品能骗过人的视觉,但骗不过人的触觉.在这种意义上说,绘画艺术,就

Drawing deformation, like a strange taste of beans, its taste delicious. People love the deformation of the same with Matisse and Picasso et al. In fact, the deformation is not the invention of these modern painters. Since ancient times, Chinese painting is distorted From the pottery unearthed in Banpo of Xi’an to the silk painting in the tomb of Chu in Hunan Province, the ancient murals of Dunhuang Grottoes were painted from the pre-Qin lacquer ware of Jiangling and from the paintings of the Song and Yuan Dynasties to the New Year pictures of the Ming and Qing dynasties. A broad feature of painting, broadly speaking, any painting is distorted.Ancient Greek Balchises painting the cloth mantle, fooling around the eyes of real master Chicks, modern “super realism ” painter The great figures of Clos and the portrayal of the pores of the sweathable lips are all but small, but none of them can evade the minimal deformation process by converting three-dimensional objects into two-dimensional illusions. In this sense, the art of painting is just that