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北宋著名画家苏轼在一首诗中提出“论画以形似,见与儿童邻”的见解,立即被画坛广泛认同。此后类似观点层出不穷:“遗形取神”“得意忘形”“得神于象外”“逸笔草草,不求形似”……。这些观点共同构筑了以重神轻形为核心的神形论,逐渐成为画坛主流意识,深刻影响着中国人物画的发展走向、审美情趣的变化、层次品位的界定。 重神轻形的理念,为画家摆脱形的束缚,获得更大空间去探索艺术本体,融入更多个人独特感受,其意义不可低估但其负面影响也不能小视,对此进行反思是大有裨益的。
Su Shi, a famous painter in the Northern Song Dynasty, put forward his opinion in a poem that “painting is similar to seeing children and neighbors” and was immediately recognized by the painting circles. Since then similar point of view after another: “legacy to take God,” “proudly” “God in the elephant” “Yi pen grass, not seeking the shape of” ... .... Together, these views build a god-shaped theory centered on lightness and lightness, gradually becoming the mainstream consciousness of the painting circles, profoundly influencing the trend of the development of Chinese figure painting, the change of aesthetic taste, and the definition of the level of taste. It is helpful for the painter to get rid of the shackles of the form, to gain more space to explore the art body and to integrate more personal unique feelings, whose meaning can not be underestimated, but whose negative influence can not be underestimated of.