本文關(guān)鍵詞： 筆墨 陰陽 臨摹 中國畫 傳承　出處：《藝術(shù)評論》2017年10期 　論文類型：期刊論文

【摘要】：中國畫的歷史傳承體現(xiàn)在媒材、技巧與觀念三個體系之中。作為媒材的毛筆、宣紙、墨及中國畫顏料,決定了中國畫以"筆墨"為核心的語言形態(tài),以及以道家"陰陽"學(xué)說為內(nèi)核的哲學(xué)思維,中國畫也因此具有由"器"入"道","道""技"合一的文化表征。當(dāng)代中國畫家正是通過臨摹而熟稔、親和中國畫的筆墨工具,理解、掌握中國畫從用筆到章法的技巧語言,進(jìn)而體認(rèn)、參悟中國畫的意象思維及文化意蘊(yùn)。因此,臨摹并非僅是形式追摹,它更是中國畫從工具到精神綜合系統(tǒng)的自覺傳承。
[Abstract]:The historical heritage of Chinese painting is embodied in three systems: media, skills and concepts. As a medium, brush, rice paper, ink and Chinese painting pigments determine the linguistic form of Chinese painting with "brush ink" as its core. As well as the philosophical thinking based on the Taoist theory of "Yin and Yang", Chinese painting also has a cultural representation of the integration of "Dao" into "Tao" and "Tao" and "skill". It is through copying that contemporary Chinese painters are familiar with the tools of Chinese painting. To understand and master the technical language of Chinese painting from pen to form, and then to realize and understand the image thinking and cultural implication of Chinese painting. Therefore, copying is not only a form of tracing, but also a conscious inheritance of Chinese painting from the tool to the spiritual comprehensive system.
【作者單位】： 中國藝術(shù)研究院美術(shù)研究所;
【分類號】：J212
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本文編號：1499248