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近日,我去拜访一位画家朋友,他的山水画布局虚实相生,用墨浓淡相宜,空灵简洁,给人以美感。朋友说画画有个规矩,不能将一幅画画得过满过实,必须留有一定的空间与距离,若是密匝匝的一团,就显得压抑呆滞了。看八大山人的《荷花水鸟图》,一只孤鸟单足着地,立于怪石之上,石侧弯曲延伸出来的一枝浓墨荷叶垂于小鸟头上,有压顶之势,其余为大块的空白。在这里,空白与荷花、寒鸟一起共同营造了寂寥、空旷、无声的美,表现了作者高傲、孤独、悲凉的思想情感。留白在许多文学作品里表现得尤为突出。我国古典诗词
Recently, I went to visit a painter and friend. His landscape painting is based on the actual situation of the landscape. My friend said that there is a rule in drawing and painting. If one can not draw one painting to be too full, you must leave a certain amount of space and distance. If one is a group of two, you are depressing. Look at Badashanren’s “lotus waterfowl map”, a lone bird solitary and solemn, standing on the rocks above the stone side bent out of a thick ink lotus leaf hanging in the head of the bird, there is pressure top potential, the rest For the bulk of the blank. Here, the gap and the lotus, cold bird together to create a lonely, open, silent beauty, showing the author arrogant, lonely, desolate thoughts and feelings. Obscure is particularly prominent in many literary works. Chinese classical poetry