论文部分内容阅读
中国传统绘画中的墨及其色是一个十分独特的文化范畴。墨虽然本身有一定的物质性,但从根本上讲,它不是一个严格的可以脱离主体而存在的物质,只有在主体操作运用它时,它才真正具有存在的意义。作为中国画重要语言元素的墨色的本质而言,不仅是读性的表达,也不仅是主体的操作运用,重要的是“可读”。可读包含了画者与赏者的主体间交流关系,它支撑着整个水墨画审美的过程。经验告诉我们,点、线、面延伸出来的抑扬顿挫、节奏韵律与墨色、墨韵、墨层等都是被实现了的“墨”本身;这里可以看出墨及其色、线运用成为可能的基本条件。事实上,我们讨论的墨色是不能离开点、线、面及墨韵、墨层、光色的参照系进行的。因为,只有在画面的总体图式中我们才能窥见到墨
The ink and the color of Chinese traditional painting is a very unique cultural category. Although ink itself has some materiality, fundamentally speaking, it is not a strict substance that can exist without itself. Only when it is used by the subject does it have its true meaning. As the essence of ink color, which is an important linguistic element of Chinese painting, it is not only an expression of reading, nor an operation of the subject, but “readable”. Readable contains the communication between the main body of the artist and the viewer, which supports the aesthetic process of the whole ink painting. Experience tells us that the dots, lines, and surfaces extend to the cadence, the rhythm and rhythm, ink rhyme, ink layer are all realized “ink” itself; Here you can see the ink and its color, the use of lines is possible Basic conditions. In fact, the ink color we are discussing can not be separated from the point, line, surface and ink rhyme, ink layer, light color reference system. Because only in the overall picture of the picture we can glimpse of ink