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关于“形神”问题的探讨,始终是中国画论和中国画创作实践中的核心问题。东晋顾恺之第一次提出“以形写神”的论点,不仅是对中国画论的杰出贡献,同时,在世界美术史上也是一颗璀璨的明珠。至于如何才能达到“传神写照”的境界,各家的意见有时却又大相径庭。在这些论争中,对于“唯形似”论的批判始终是中国画论的主流。唐张彦远就当时一些画家作品曾尖锐地批评过:“得其形似,则无其气韵;具其彩色,则失其笔法,岂日画也。”苏轼则说:“论画以形似,见与儿童邻。”这对于徒具“形似”的画家,可谓是辛辣的讽刺。可见要想使美术作品具有永恒的魅力,就必须反对那种呆板、无味的自然主义的摹拟,达到“写神”的崇高境界,永远是我国绘画传统中最可贵的精神。
The discussion on the “god of form” has always been the core issue in the practice of Chinese painting and Chinese painting. For the first time, Gu Kai in the Eastern Jin Dynasty put forward the argument that “to describe God” is not only an outstanding contribution to the theory of Chinese painting, but also a shining pearl in the world art history. As for how we can achieve the “vivid portrayal” of the realm, the opinions of various parties sometimes differ greatly. In these debates, the criticism of the “only form” theory has always been the mainstream of Chinese painting theory. At the time, some artists at the time of the Tang Zhang Yanyuan had sharply criticized: “It has its own shape, but it has no rhyme; with its color, it loses its brushwork and draws paintings on the same day.” Su Shi said: “On painting, Children’s neighbors. ”This is a spicy satire to painter-like painters. It can be seen that in order to make the art works have the eternal charm, we must oppose the imitation of the dull and tasteless naturalism and achieve the lofty goal of “writing God”. It will always be the most precious spirit of our traditional painting tradition.