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随着对中国画画面形式美感要求的不断提高,很自然地出现了作为人物画主体的人物形象及其精神内涵附着与迁就于画面形式要求的倾向。 真实的人物形象与中国画的平面美感容易产生矛盾,所以为了画面形式美感的需要,常常将人物形象压平,经过变形,使之能够有机而协调地纳入画面,这样画面的形式感就舒服了,看上去是一幅完美的作品,这一点当然非常重要,可是对人物本身的意义来说,或多或少总会有所损失。这种具有一定装饰趣味而图案化的作品,以其画家的匠心与画面的独到意蕴供人鉴赏品味,并努力开拓着中国画在形式
With the continuous improvement of the aesthetic requirements of the Chinese painting form, it naturally appears that the character image as the main body of portrait painting and the tendency of its spiritual connotation to be attached to and accommodated on the screen form. Therefore, in order to meet the aesthetic needs of the screen, the character images are usually flattened and deformed so that they can be organically and harmoniously incorporated into the screen. As a result, the sense of formality of the screen is comfortable, Of course, it is very important that it looks like a perfect piece of work. However, it will be more or less lost in the sense of the characters themselves. This kind of decoration with a sense of fun and the design of the work, with its painter’s ingenuity and the unique meaning of the screen for people to appreciate the taste, and strive to open up the Chinese painting in the form