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“介于似与不似”之间的中国画,却从来没有彻底的“不似”。中国画的“不似”从审美理想上说。是庄禅“天人合一”的中国艺术精神的体现,人与自然、主体与客体你中有我,我中有你的审美方式,也永远不会走向亚里士多德“模仿说”的审美容体性。而从中国画语言上说,锥形毛笔所形成的线条使中国画的“似”受到了极大的限制,加入线条的本身就是主观的,而锥形毛笔的书写又形成了博大精深的书法艺术,于是,中国画的线条就不是
Chinese painting “between similarities and dissimilarities” has never been completely “not like”. Chinese painting “not like ” from the aesthetic ideal. It is Zhuang Zen ’s embodiment of the Chinese artistic spirit of “harmony between man and nature”, you and me, man and nature, subject and object, have your aesthetic way in you and never go to Aristotle. Imitation that “aesthetic aesthetic. However, from the perspective of Chinese painting, the lines formed by the cone brush have greatly restricted the ”likeness" of Chinese painting. The addition of the line itself is subjective, and the writing of the cone brush forms an extensive and profound calligraphy art So, the lines of Chinese painting are not