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水墨当前的热闹显然是一件奇怪的事情,因为水墨其本性是偏冷的与偏淡的,水墨材质在晚唐王维那里的发生,就是针对盛唐金碧青绿之繁盛奢华颜色观的,让“色即是空,空即是色”的微色观得以发明出来。因此,中国传统山水画尽管并不缺乏气势宏伟的作品,但其根本上还是追求空寒与平淡、荒寒与寂然的。范宽有宏伟的《溪山行旅图》,但更有几幅《雪景寒林图》。现在的水墨却太热。如果水墨有着重要性,我们应该彻底面对这个时代的过于热闹的
The current lively ink painting is obviously a strange thing, because the nature of ink is colder and subdued, the ink material in the late Tang Dynasty where the occurrence of Wang Wei, is against the prosperous Jinbi Green’s prosperous luxury color concept, so that “color is empty , Empty is the color ”micro-color to be invented. Therefore, although traditional Chinese landscape painting is not lacking in magnificent works, it basically pursues air-coldness and plainness, desolation and silence. Fan Kuan has a magnificent “mountain trip travel map”, but a few more “snow landscape map.” Now the ink is too hot. If ink and wash are important, we should thoroughly deal with the liveliness of this era