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关山月是广州美术学院中国画学院人物画工作室教学体系的奠基人之一。1943年夏,关山月夫妇等人到敦煌莫高窟考察并临摹壁画。在这次考察中,关山月表现出对没骨画法的重视与学习。本文尝试讨论关山月敦煌临画中的“没骨”因素,笔者认为,关山月在敦煌“意临”“写画”中,对敦煌绘画中没骨晕染有了深入的研究。关氏将敦煌绘画中本来用于塑形的凸凹晕染所形成的“粗线条”提炼为笔法表现的画面内容,予以重新解读。这种以没骨画法来理解结构的临摹方法,使得关山月在临摹过程中侧重于画面的结构性特征,并通过对象动态与“没骨”笔法的相呼应来解读出气韵生动的感受。
Guan Shan month is one of the founders of the teaching system of figure painting studio of Chinese Painting Academy of Guangzhou Academy of Fine Arts. In the summer of 1943, Guan Shanyue couple and others visited Dunhuang Mogao Grottoes and copied murals. In this study, Guan Shanyue showed no emphasis on bone painting and learning. This article tries to discuss the factors of “no bone” in Guan Shanyu Dunhuang painting, in my opinion, Guan Shan in Dunhuang “Italian Pro ” “painting ”, no drowsiness in Dunhuang painting In-depth research. Kwan’s reinterpretation of the “bold lines” formed by the convex and concave blooms originally used for shaping in Dunhuang’s paintings, into the content of the brushwork. This method of skimming to understand the structure of the copy method, making Kunshan in the copying process focuses on the structural characteristics of the screen, and through the dynamic object and “no bone ” strokes echoes to explain the vivid charm Feeling.