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中国山水画传承流变至今,历经千余载以今人之眼观古之佳作,长令我等后生晚辈扼腕叹息,确实有“高山仰止”之感。凡修习中国画,必经由临古、写生、创作三大阶段,山水画亦不例外。近代李可染先生更是将由这三个阶段推演出中央美院山水画室之教学体系,单就如何解决临古与创新问题,又提出“以最深的功力打进去,以最大的勇气打出来”之说。由此看来,山水画修习,应在“师古人、师造化、师心”三点上下功夫。而我想说的是,讲道理容易,在实践中身体力行地学与悟,继而创立当代山
Chinese landscape painting rhetoric up to now, after more than a thousand set contains the ancient eye of the ancient masterpieces, so I am a latecomer to regret my sigh, I do have a sense of . Where to practice Chinese painting, will be ancient, sketch, three stages of creation, landscape painting is no exception. In the modern era, Li Keran even further deduced from these three stages the teaching system of the Central Academy of Fine Arts in the Shanshui Studio, and on how to solve the problems of ancient times and innovation, he also proposed that “the most skill be used to fight in with the greatest courage” Said. Seen in this light, landscape painting practice, should be in the “teacher of the ancients, teachers of good fortune, teacher heart” three efforts. What I want to say is that it is easy to reason and practice and realize in practice, and then create a contemporary mountain