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写生并不是一个陌生的词汇,早在我国唐朝时期,张璪就有“外师造化,中得心源”的说法。自西方以研究物象透视,色彩规律,如实的描绘客观物象的绘画体系传入我国以来,写生的概念在理解上有了一定的偏颇,中国画的写生和西画的写生是有一定的差异的,虽然在初始阶段我们的训练目标都是造型能力的培养,但是中国画的写生并不以此为最终目标,中国画更加注重写心、写意,从而使我们的写生进入到创作的阶段,达到“气韵生动”的理想境界。师古人也好,师造化也罢,我们只有通过个人的修养才能取得应有的效果。
Sketching is not a strange word. As early as in the Tang dynasty in our country, Zhang Xun had the saying of “good luck to the outsider, good luck in the outside world”. Since the West introduced the painting system of depicting the objective objects into our country through the study of the perspectives of object image, color, and reality, the concept of sketch has a certain biased understanding. There are some differences in the sketch of Chinese painting and the sketch of the Western painting. In the initial stage of our training objectives are modeling ability training, but the Chinese painting sketch is not as the ultimate goal, Chinese painting more emphasis on writing, freehand brushwork, so that our sketches into the creative stage, to achieve “vivid and lively ”The ideal state. Teachers, ancient or Yeh, good fortune worth mentioning, we can only achieve the desired results through personal training.