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人们习惯于把中国画分成“工笔”和“写意”,这已经被认为中国画的两大基本范畴。但是,工笔和写意,工笔和意笔的二元对立,有时被看得过分机械了,似乎用笔简约,笔走龙蛇即为“写意”,用笔细密、追求逼真则为“工笔”,这难免给人某种误解,似乎工笔画的最高任务就是追求外在的客体的准确性,而写意则一味着眼于主观情感的挥洒。在传统的画论中,写意的文人画往往得到过分的宠爱,而工笔画的在艺术上的成就每每遭到忽视,甚至歧视。其实,工笔像意笔一样,同样饱和
People are accustomed to the Chinese painting is divided into “Meticulous” and “Freehand”, which has been considered two basic categories of Chinese painting. However, the meticulous and freehand brushwork and the binary opposition between the pen and the pen are sometimes seen as excessive mechanical effects. It seems that using a simple pen and a pen as a “freehand brush” means using " This inevitably gives some kind of misunderstanding, it seems that the highest task of painting is the pursuit of the accuracy of external objects, while the freehand brushstrokes are focused on subjective emotional sway. In the traditional theory of painting, the freehand scholarly paintings often get overly favored, and the artistic achievements of the fine brushwork are often ignored or even discriminated against. In fact, like the pen, the same saturation