本文選題：書畫同源 + 源流　； 參考：《大舞臺》2012年02期

【摘要】：中國書法和中國繪畫都強調(diào)"骨法用筆"的重要性,所用工具均為毛筆。書法講究均衡和工穩(wěn),間架結(jié)構(gòu)的開合、布局同樣適用于中國畫的法度。謝赫六法中的"氣韻生動"同樣成為書法創(chuàng)作的金科玉律。用線的質(zhì)量高下,線條中蘊含的情感力度,關(guān)乎書畫作品的品味高低;個人對線條的敏感性,也決定了作者藝術(shù)道路的寬度。也就是說,書畫同源之"源"不是僅停留于表面的表現(xiàn)形式、筆墨運用上的同源性,而是深入到書法與繪畫藝術(shù)的神髓之中,具有相同的神髓、意境之源。
[Abstract]:Both Chinese calligraphy and Chinese painting emphasize the importance of "bone brush". Calligraphy pays attention to balance and stability, the opening and closing of the frame structure, layout is also applicable to the Chinese painting. The "vivid charm" in the six laws of Sheikh also became the golden rule of calligraphy. The quality of the line, the emotional strength contained in the line, relates to the taste of painting and calligraphy; the sensitivity of the individual to the line also determines the width of the author's art road. That is to say, the "source" of calligraphy and painting homology is not only in the form of expression on the surface, but also in the spirit of calligraphy and painting, with the same source of artistic conception.
【作者單位】： 湖北美術(shù)學(xué)院;
【分類號】：J205;J292.1

【相似文獻】

相關(guān)期刊論文 前10條

1 李昌集;從“書畫同源”到“書法藝術(shù)”─—兼及古代思想文化的尋根[J];揚州大學(xué)學(xué)報(人文社會科學(xué)版);1997年06期

2 高燕;;淺論中國“書畫同源”的歷史和現(xiàn)實意義[J];科教文匯(中旬刊);2010年06期

3 劉冬明;;趙孟，

本文編號：1842506