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《芥舟学画编·论传神人物》是清代沈宗骞的人物画论,里面有这样一句话“画法门类至多,而传神写照由来最古,盖以能传古圣先贤之神垂诸后世也。”绘画的门类分为了许多种,最古老的的就是传神与写照,因为这是用来传达先贤的神采的。可见传神在绘画当中的重要性“然所以为神之故,则又不离乎形。”然而之所以是神的缘故,却又不可脱离形体。又阐述了对形表达的不可逾越。在宋代和元代的人物画理论继承了“重神轻形”的审美倾向,这种美学思想最早是顾恺之提出的。而沈宗骞认为,形在神先。通常我们在人物的描绘上会运用“神”“形”而在山水上却用“势”“气”在我看来,他们可以互通互用。也可以用此来解释为何形在神先。
“Mustard School Painting series on the expressive character” is the Qing Dynasty Shen Zongqian figure painting theory, there is such a sentence “painting categories at most, and the most ancient portrayed the origin of God, Later generations. ”“ The categories of painting are divided into many kinds, the oldest is the vivid and portrayed, because it is used to convey the sages of the sages. We can see the importance of vividness in painting. ”“ But for God’s sake, therefore, it is not divorced. ”“ But the reason for God is not divorced from form. Also expounded on the insurmountable expression. In the Song and Yuan dynasties, the theory of figure painting inherited the aesthetic tendency of ”heavyheadedness and lightness “, which was first proposed by Gu Kaizhi. And Shen Zongqian believes that shape in God first. Normally we use ”god“ and ”form“ on the portrayal of characters, but on landscape we use ”potential“ and ”qi". In my opinion, they can communicate with each other. You can also use this to explain why God is first.