论文部分内容阅读
中国画在表达物象上,深受“天人合一”的传统哲学思想的影响,追求“似与不似”审美尺度。宋代苏轼就提出“论画以形似,见与儿童邻”、“故凡于欺世盗名者,必托名于无常形”的观点。齐白石提出“似与不似”的美学概念,认为:“太似则媚俗,不似则欺世,妙在似与不似之间。”这些观点表明了中国画以意造形,追求“似又绝不似”的境界,就要对自然物作主观的处理,即加进了画家的“意”。为了更充分传达神情意
Chinese painting is influenced by the traditional philosophical thoughts of “harmony between man and nature” in pursuit of the aesthetic standards of “similarity and dissimilarity” in expressing objects. Su Shi in the Song Dynasty put forward the idea of “painting is similar to seeing children and neighbors, Qi Baishi put forward the aesthetic conception of ”similarity and dissimilarity“, saying that: ”Too similar is vulgar, not to deceive, to wonder between similarness and dissimilarity.“ ”These views show that Chinese painting is intended to shape and pursue “Like again never like ” realm, it is necessary to subjective treatment of natural things, that is, adding the painter “meaning ”. In order to more fully convey the feelings of God