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虚实是矛盾的统一体,即相互对立又相互依存,在一定的条件下又相互转换。在我们探索“虚实”问题的时候,我认为“无虚无实”是否可作为我们进一步认识“虚实”的最高境界,也是绘画艺术的一个基本命题。纵观中国绘画艺术史,从绘画的技术层面上分析每一件作品,都能从画面的布局安排、线条的疏密处理、笔墨的轻重描绘等等方面得出“虚实”判断的品评标准,“虚实”在这里仅仅表现为“虚就是虚”,“实就是实”的视觉感受。如果我们再进一步体悟作品所表现的精神境界和文化品位时,其经营之妙的“虚实”已经上升为“虚非虚,实非实”、“虚是实,实是应”的境界。
The actual situation is a contradictory unity, that is, mutually antagonistic and interdependent, and under certain conditions, they also change each other. As we explore the issue of “actual situation”, I think whether “nothingness” can serve as the highest level for us to further understand the “actual situation” and also a basic proposition of the art of painting. Throughout the history of Chinese painting art, analyzing each piece of art from the technical level of painting can draw the evaluation criteria of “actual situation” judging from the arrangement of pictures, the densification of lines, the description of brushstrokes and so on, “Fiction” here only shows as “virtual is virtual”, “real is” visual experience. If we further understand the spiritual and cultural qualities displayed in the works, the “imaginary and actualities” of their management have risen to the realm of “virtual reality and real reality,” and “imaginary reality and real reality”.