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在我国古代,从唐宋开始即曾将色彩划分了不同的等级,最为突出的是古建筑的屋面必须使用黄色,因此黄色即成为了最珍贵的颜色。皇家的宫殿、园林、陵墓、坛庙的琉璃瓦都必须是黄色,墙使用红色。其他如绿色则排在第二等级,而黑色、灰色最为低档,使用于民间百姓。当然这是历史铸成的误解,但延续至今对人们的审美心理仍有其残迹与影响。作为树根造型艺术使用的自然根材,由于其天然的属性决定了它单相的色调,其中大部分颜色即归属于无彩色系的黑、白、灰。这对于根艺色彩创作的应用是有极大的制约性的,正因如此,根艺的这种固态颜色因受其传统的影响,有时就被认为是“丑”的。这里谈的“审丑”的命题,就是因其不美即就其“丑”而审之,通过深入审视去发掘体味这“丑”的实质真谛。根据这“丑”的特性,结合具体作品创作,去探寻其色彩在创作中
In ancient China, color was divided into different levels from the beginning of the Tang and Song dynasties. The most prominent is that the roof of ancient buildings must use yellow, so yellow is the most precious color. Royal palaces, gardens, mausoleums, temples glazed tiles must be yellow, the walls use red. Others, such as green, are in the second rank, while black and gray are the most low-grade, used in folk. Of course, this is a historical misunderstanding. However, the aesthetic psychology of people still has its remnants and effects. The natural root material used as root modeling art, because of its natural properties determines its single-phase color, most of which belong to the black, white and gray colorless. This is extremely restrictive for the application of root art to color creation. For this reason, the solid color of root art is sometimes considered “ugly” due to its traditional influence. The proposition here that we talk about “ugly ” is because it is not beautiful, that is, it “ugly ” and trial, through in-depth examination to explore the taste of this “ugly ” the essence of. According to this “ugly ” characteristics, combined with the creation of specific works to explore its color in the creation