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中国山水画自萌芽以来到现在一直都或快或慢的发展,从展子虔,李氏父子的青绿山水到中唐王维的水墨山水,从五代宋初重理的水墨山水到北宋末年的复古主义王希梦的青绿山水,都在不断推动着山水画的发展。色彩是绘画艺术中情感表现的有力手段,色彩的运用,能有效地表达作者的情思,增强作品的表现力。中国画的色彩观,其产生、发展与社会历史中诸多因素相关联,尤以上层建筑中的政治、哲学、宗教等因素的联系较大。因此,要研究中国画色彩观的流变,就必然要关注其特定的文化内涵。当代的艺术深受西方艺术的影响,中西文化的撞击与融合已成为必然,对传统中国画的变革也比以往任何时代都要来得迅速,当代中国画的创作在西方文化的冲击下,要求着中国画的当代体格转型。如何植根于传统,进行当代语境下的中国山水画的本体创新,是对当代的国画家和理论家的一项重要课题。
Chinese landscape painting has been growing rapidly or slowly since its bud initiation. From the exhibitionist gods, the blue and green landscapes of Li’s father and son to the ink landscapes of Wang Wei in the Middle Tang Dynasty, from the ink and wash landscapes of the Five Dynasties and early Song Dynasties to the late Wang Song of the Northern Song Dynasty Green landscape, are constantly promoting the development of landscape painting. Color is a powerful means of emotional expression in the art of painting. The use of color can effectively express the author’s feelings and enhance the expression of the work. The color concept of Chinese painting, its production, development and social history are related to many factors, especially in the superstructure of politics, philosophy, religion and other factors. Therefore, to study the changing color concept of Chinese painting, we must pay attention to its specific cultural connotation. Contemporary art is deeply influenced by Western art. The collision and integration of Chinese and Western cultures have become inevitable. The transformation of traditional Chinese painting has also come faster than ever before. The contemporary Chinese painting, under the impact of Western culture, requires Chinese paintings Contemporary physical transformation. How to root itself in the tradition and carrying on the ontology innovation of the Chinese landscape painting under the contemporary context is an important issue for contemporary Chinese painters and theorists.