论文部分内容阅读
我们对画画的认识和热情,最初是建立在对自己那只手的信心上的,因为我们知道,不管怎么说,画画是一门手艺。 于是不论是先生教画画还是学生学画画,一开始都是把训练手头的技巧看作很重要的东西,即便是在现代的院校里,我们也把美术专业称为“术科”,并安排了大量的时间来做技巧练习。以国画来说,这些练习涉及执笔和运笔的提按顿挫动作、墨色的浓淡干湿变化到工具材料的了解和应用以及临摹与写生中对形象和笔墨愈来愈精确的模仿与展现,其中也包括了我们对某种乃至多种已被认为是完美的法度与风格的模仿与展现。由此我们获得了一种技术上熟练。这种熟练使我们具备了基本的造形能力和画画的信心,尽管它仅仅建立在用手的基础上。 这样用手画出来的画,古人把它称为“能品”。有人把它锁定为目标,下苦功几十年。技巧熟练的作品表面上完整漂亮,但往往缺乏深度。 于是我们开始用一种做学问的态度回望历史,环顾现状,关注形式。开始用头脑思考和比较古代的、现代的、东方的、西方的、写实的、表现的、具象的、抽象的,并期望在自己的作品中创造出一种与众不同的法度和风格——从题材到内容,从形体结构、笔墨结构以及构图、色彩、肌理到它们之间的节奏关系等一系列绘画的形式因素,通过想象寻求灵感和标新立异。这
Our understanding and enthusiasm for painting was initially based on our confidence in our own hand, because we know that drawing is a craft anyway. So whether Mr. is teaching painting or drawing pictures by students, it is very important to start with the skills at hand. Even in modern institutions, we refer to art as “surgery,” and Arranged a lot of time to do skills exercises. In the traditional Chinese painting, these exercises involve the setbacks of writing and brushing, the changing of wet and dry ink colors to the understanding and application of tool materials, and the increasingly accurate imitation and presentation of images and writing in copying and sketching. Among them, Including the imitation and demonstration of one or more of the ways and styles that have been considered as perfect. As a result, we have acquired a technical proficiency. This proficiency gives us the basic ability to shape and paint, though it is based solely on hand. This hand-painted paintings, the ancients called it “energy products.” Some people lock it as a goal, decades of hard work. Skillful workmanship is superficially beautiful, but often lacking in depth. So we began to look back history with a learned attitude, look at the status quo and pay attention to the form. Begin to think and compare ancient, modern, oriental, western, realistic, expressive, figurative, abstract, and expect to create a distinctive style and style in their work - From theme to content, we seek for inspiration and unconventional imagination from the formal factors of a series of paintings such as the physical structure, the structure of ink and ink, and the rhythm of composition, color, texture and their relationship. This