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“外师造化,中得心源”是唐代画家张璪所提出的艺术创作理论,这不仅仅针对画家对物象的心手追摩,而且表现在画面中是对事物形象的高度概括,以此表达画家对待生活的一种人文精神。“十八描”是中国画技法的名称,其种类却不只十八种,这是古人对大自然线条的一种高度概括,线描作为一种手段,把物象的外沿轮廓加以突显,再借助生动活泼的笔触着以抒写,使得中国画线描艺术独具特色。本论文试图从理论与实践的角度将技法与写生的关系置于中国画史中,结合自己临摹与写生的过程,从而探索当代语境中对“十八描”的继承与发展。
“Good luck outside the source,” is the Tang Dynasty painter Zhang Jian’s theory of art creation, which not only for the painter to pursue the object of the heart, but also reflected in the picture is a highly summarized image of things , In order to express a humanist spirit of painter’s treatment of life. “Eighteen strokes ” is the name of Chinese painting techniques, but its species is not only more than 18 kinds, which is a highly general line of the ancients on nature, line drawing as a means of highlighting the outer contour of the image, Then with the lively brush stroke to describe, making Chinese painting line art unique. This thesis attempts to put the relationship between technique and sketching in the history of Chinese painting from the perspectives of theory and practice and explore the inheritance and development of “eighteen strokes” in contemporary context by combining the process of copying and sketching.