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一种造型观念便是一种思维模式,它是整个特定社会文化网络的一个组成部分,有其自身的文化必然性。中国传统造型观表现出重“质”的性格,充分体现中国传统思维重本源、轻现象,重悟性、轻逻辑的倾向。这种造型在中国传统绘画中,便表现出对视觉物象的超越。 历史上西方绘画技法曾几次传入我国。随着佛教自汉代的传入,以及丝绸之路上东西文化的交流,“明暗法”曾一度大量出现于早期佛教绘画中,并在社会上流传。这虽然不是近现代意义上的写实技法,在当时,这所谓的“凹凸法”却是一种代表外来文化的注重体积的新画法。然而,它未能流传多久,就随着传统绘画的进一步昌盛而销声匿迹。到了十七、十八世纪,随着传教士而来的欧洲绘画则一度引起文人士大夫的极大惊奇: “西洋人善勾股法,故其绘画于阴阳远近不差镏黍。所画人物
A stylistic idea is a pattern of thinking that is an integral part of a particular social-cultural network and has its own cultural inevitability. The traditional Chinese outlook on modeling shows a character of “quality”, which fully reflects the tendency of emphasizing the origin, the lightness, the re-understanding and the light logic of Chinese traditional thinking. This style in traditional Chinese painting, they showed the visual image beyond. Western painting techniques have been introduced to our country several times in history. With the introduction of Buddhism from the Han Dynasty and the exchange of Eastern and Western cultures on the Silk Road, the “light and shade” law appeared once in large quantities in early Buddhist paintings and circulated in the society. Although this is not a realistic technique in the modern era, at that time this so-called “bump-up method” was a volume-oriented new method of representing foreign cultures. However, how long it failed to circulate, it disappeared as the traditional painting became more prosperous. In the 17th and 18th centuries, the European paintings accompanying missionaries once aroused the great surprise of the literati and doctor: "The Western people are good at the method of stock chart, so their paintings are not far behind in terms of yin and yang.