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再现和表现是绘画的两个侧重点。从文化背景上来看,不同地域和不同时代对作品的样式有着不同的偏好。“再现”一度被认为是“像”的代名词,“像”的作品更受欢迎。而偏向表现的作品总是以其或凌乱繁杂,或过分简约的外表展现给世人。在这么多艺术形式当中,中国画作品反而能在再现和表现之间找到一个很好的方式来传达作品的主旨。“形神兼备”是国画中一直以来的最高境界。如此,在再现和表现之间,便没有一个统一的标准来约束形式的具象和抽象,作品的高低好坏内化到了作品本身。
Reproduction and expression are the two focuses of painting. From the cultural background, different regions and different times have different preferences for the styles of the works. “Reproduction ” was once considered synonymous with “Like ”, “Like ” works more popular. However, the performance-oriented works are always presented to the world by their complicated or messy or over-simplistic appearances. Among so many forms of art, Chinese painting can instead find a good way to convey the essence of the work between reproduction and expression. “Shape and Spirit both ” is the highest state of Chinese painting has always been. Thus, between reproduction and expression, there is no uniform standard to constrain the form of representation and abstraction, and the quality of the work is internalized into the work itself.