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本文由谢赫“气韵生动”之论说起,辨析中国传统画论“气韵”说与“形神”观的本义及其关系。旨在说明:六法并非独以气韵为重,且“气韵生动”与“以形写神”本义并无相悖。后世文人论画往往以二者相对,独于笔墨间求气韵,漠视自然形象之真对于绘画的重要性,与六法之初衷相去甚远。
This article begins with Xie He’s theory of “vivid charm”, and analyzes the original meaning and relationship of Chinese traditional painting theory “Qi Yun” and “Xing Shen”. The purpose of this article is to show that the six methods are not unique in their artistic conceptions, and that “vividness and gracefulness” does not contradict the original meaning of “writing God”. Later literati paintings are often relative to each other, separate from the strokes of seeking rhyme, neglect of the natural image of the importance of painting, and far from the original intention of the six principles.