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笔墨的形态,在人与自然物象的对话中悄然诞生,它有形状并构成一定的态势,分而观之笔笔是书法,合而观之是一幅画。山水画第一个高峰的标志就是笔墨形态的高度成熟;花鸟画则出现不同于晕淡的异体画风——徐熙“落墨花”,这“落墨”就是以笔墨的形态为踪。其后徐渭、石涛、齐白石、黄宾虹等,从笔墨的角度讲,是在前人的基础上以形态的“整平”、“尖锐”来实现个性语言的张扬。冷静下来,当我们再一次把握中国画笔墨形态的本质时,发现以笔墨的形态象征性地摹写自然物象“只能永远
The form of ink and brush is quietly born in the dialogue between man and the natural object. It has the shape and constitutes a certain situation. The pen and pen are the calligraphy while the view is the same. The symbol of the first peak of landscape painting is the high degree of maturity of the brush and ink. The flowers and birds paintings are different from the faint, all-embracing style of painting - Xu Xi’s “drop of ink”. Later, Xu Wei, Shi Tao, Qi Baishi, Huang Binhong, etc., from the perspective of writing, is based on the predecessors to form “leveling”, “sharp” to achieve individuality language assertiveness. Calm down, when we once again grasp the nature of the Chinese brush and ink form, we found that the natural image of the symbolic representation of the form of ink and brush "can only be forever