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我国传统山水画几乎每幅中都有瀑布。瀑布奔泻,一个老人携杖或背手来观瀑,作者往往自题曰“观瀑图”。李可染也常画牧童骑牛观看瀑布,牧童的兴趣自然不同于老儒,但也观瀑。深暗的山石丛林间,白练飞来,那垂挂的或曲折奔流的白色的游动之线成了画面最活跃的命脉,也正是这黑白对照、块线对照、动静对照的造型因素吸引画家,启发画意。但画面之成败主要依靠整体结构,单凭一线瀑布点缀救不了千千万万平庸的山水画。
There are waterfalls in almost every one of our traditional landscape paintings. The waterfall runs down and an old man carries a rod or back to view the waterfall. The author often chants “Viewing the Waterfall”. Li Ke-ran also often painted cowboys and rode cows to watch waterfalls. The interest of herdsmen is different from that of old Confucians, but he also watches waterfalls. Between the dark mountains and the woods, Bai Bai flies, and the white swimming line that hangs or twists and turns becomes the most active lifeline of the picture. It is precisely this black and white control, the block line control, and the static and dynamic contrasting modeling factors attract Painter, inspired by painting. However, the success or failure of the picture mainly depends on the overall structure, and it is impossible to save thousands of mediocre landscape paintings with only one waterfall.