論中國畫中的光影元素
發(fā)布時間：2018-08-25 18:47
【摘要】：光是人認知世界的前提，有了光才有顏色和體積。光是重要的繪畫語言，西方繪畫中，對于光影的運用與表現(xiàn)，使得西方繪畫在世界藝術(shù)寶庫中顯得如此璀璨奪目，熠熠生輝。而中國繪畫經(jīng)過數(shù)千年的不斷豐富、創(chuàng)新和發(fā)展，形成了獨具中國韻味的繪畫語言體系，筆墨在宣紙上氤氳變幻的特殊效果與我們傳統(tǒng)的人文精神與哲學(xué)思想不謀而合�！巴鈳熢旎械男木墶币痪湓捦暾U明了中國畫的創(chuàng)作特點。長久以來，對于意境的追求，要遠遠大于直接描繪肉眼看到的客觀存在，所以較為現(xiàn)實的光影在傳統(tǒng)中國繪畫中就比較少見。以至光影表現(xiàn)普遍被理解為是西方繪畫上的特色,甚至認為宣紙不適合用來描繪光影。毋庸置疑,意境是中國畫的靈魂，然而,光影表現(xiàn)也絕不是西方繪畫的專利。本文通過對古代表現(xiàn)光感的繪畫作品的分析證明中國古人并非不識光，而是在表現(xiàn)手法上與西方有所不同。隨著時代的發(fā)展，西學(xué)東漸的盛行，中國畫壇也展開了最大的胸懷，放眼世界，中西融合，取長補短。中國畫就此步入到了由傳統(tǒng)型向現(xiàn)代型的轉(zhuǎn)換時期，“光”在中國畫中的應(yīng)用和發(fā)展也日益被重視，歷經(jīng)數(shù)代大師的探索，已取得了較為突出的成績�，F(xiàn)今的中國畫壇已經(jīng)有越來越多的藝術(shù)家開始嘗試如何用傳統(tǒng)的筆墨表現(xiàn)“光影”這一現(xiàn)代元素。但當今對于中國畫如何表現(xiàn)光影，還沒有形成具體的理論系統(tǒng)，在沒有理論指導(dǎo)的探索過程中有不少畫家被炫目的光影蒙蔽了雙眼。本文就以歸納光影在中國畫中的表現(xiàn)的發(fā)展歷程作為代表，借鑒幾位大師的作品，，嘗試學(xué)習(xí)如何以傳統(tǒng)筆墨描繪先進的“光”的概念，從這個學(xué)習(xí)過程中試圖找到中國畫的發(fā)展之路。
[Abstract]:Light is the premise for people to know the world. Only with light can they have color and volume. Light is an important painting language. The use and expression of light and shadow in Western painting make western painting so dazzling and brilliant in the treasure house of the world art. Chinese painting has been enriched, innovated and developed for thousands of years, forming its own unique. The painting language system of Chinese charm, the special effect of ink and brush changing on Xuan paper coincides with our traditional humanistic spirit and philosophical thought. There is no doubt that the artistic conception is the soul of Chinese painting. However, the expression of light and shadow is by no means the patent of Western painting. The analysis of the paintings expressing the sense of light proves that the ancients in China were not ignorant of light, but were different from the West in the way of expression.With the development of the times, the spread of Western learning to the east, the Chinese painting circle has also expanded its biggest mind, looking at the world, the integration of Chinese and Western, and learning from each other's strengths and weaknesses. During this period, the application and development of "light" in Chinese painting have been paid more and more attention. After several generations of Masters'exploration, more and more artists have begun to try to express the modern element of "light and shadow" with traditional brush and ink. In the process of exploration without theoretical guidance, many painters have been blinded by dazzling light and shadow. This paper tries to learn how to describe the advanced concept of "light" with traditional brush and ink, taking the development of light and shadow in Chinese painting as a representative and drawing on the works of several masters. From this learning process, we try to find the way of the development of Chinese painting.
【學(xué)位授予單位】：河南大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J212
本文編號：2203776
[Abstract]:Light is the premise for people to know the world. Only with light can they have color and volume. Light is an important painting language. The use and expression of light and shadow in Western painting make western painting so dazzling and brilliant in the treasure house of the world art. Chinese painting has been enriched, innovated and developed for thousands of years, forming its own unique. The painting language system of Chinese charm, the special effect of ink and brush changing on Xuan paper coincides with our traditional humanistic spirit and philosophical thought. There is no doubt that the artistic conception is the soul of Chinese painting. However, the expression of light and shadow is by no means the patent of Western painting. The analysis of the paintings expressing the sense of light proves that the ancients in China were not ignorant of light, but were different from the West in the way of expression.With the development of the times, the spread of Western learning to the east, the Chinese painting circle has also expanded its biggest mind, looking at the world, the integration of Chinese and Western, and learning from each other's strengths and weaknesses. During this period, the application and development of "light" in Chinese painting have been paid more and more attention. After several generations of Masters'exploration, more and more artists have begun to try to express the modern element of "light and shadow" with traditional brush and ink. In the process of exploration without theoretical guidance, many painters have been blinded by dazzling light and shadow. This paper tries to learn how to describe the advanced concept of "light" with traditional brush and ink, taking the development of light and shadow in Chinese painting as a representative and drawing on the works of several masters. From this learning process, we try to find the way of the development of Chinese painting.
【學(xué)位授予單位】：河南大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J212
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