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【引言】宗白华先生在《中国艺术表现里的虚和实》中有段论述:“川剧《刁窗》一场中虚拟的动作既突出了表演的‘真’,同时又显示了手势的‘美’,因‘虚’得‘实’。《秋江》剧里船翁一支桨和陈妙常的摇曳的舞姿可令观众‘神游’江上。八大山人画一条生动的鱼在纸上,别无一物,令人感到满幅是水。我最近看到故宫陈列的齐白石画册里的一幅画上,画一根枯枝横出,站立一只鸟,别无所有,但用笔的神妙,令人感到环绕这鸟的是一个无垠的空间,和天际群星相接应,真是一片‘神境’。”
[Introduction] Zong Baihua in the “Chinese art performance in the virtual reality” in a paragraph of discourse: “Sichuan dialect” in a virtual action not only highlights the performance of the ’true’, but also shows the gesture Of the United States, because of ’virtual’ was ’reality’ ’Qiujiang’ play boat Weng Yi paddle and Chen Miaochang swaying dance can make viewers ’fugue’ on the river. Badashan painting a vivid fish on paper, There is nothing, it is full of water .I recently saw the National Palace Museum display a picture of Qi Baishi, draw a twig branches, stand a bird, nothing, but with a pen Wonderful, it is a feeling that surrounds the bird is a boundless space, and the stars of the sky to meet, is really a ’god territory’.