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中国山水画创作是画家对自然事物感受的形象反映,画家所描绘出的物象,并非客观事物本身,而是经过加工取舍,是艺术化了的形象。从这一点来讲,绘画作品是艺术家心中之物。但是,画家又不能离开自然界中的万事万物,必须以大自然中的一山一水、一草一木为表现内容。 早在南北朝时期,姚最就已经提出了“心师造化”的观点,到了唐代张璪又进一步提出“外师造化,中得心源”的理论,开始指出绘画中的主客体关系问题,以及画家对自然感受进行加工提炼的能动性作用。但是,还没有确切地表达出画家在创作中的思想情感作用。然而石涛在借鉴前人绘画经验的基础上,并经过丰富地生活实践,提出了“画者,从于心”与“画者,形天地万物”的理论。在石涛看来,绘画的最终目的,并不是对自然物象的纯粹摹写,也不是为了显示笔墨技巧,而是借助于客观物象,感我所感,发我所发,传达自己的人生感受和审美理想。
The creation of Chinese landscape painting is the reflection of the artist’s impression of the natural things. The objects depicted by the painter are not the objective things themselves. Instead, they are processed through artisanal images. From this point of view, painting is the heart of the artist. However, the painter can not leave everything in nature, and must express himself in the mountains and rivers and trees and trees as the content. As early as the Northern and Southern Dynasties, Yao had put forward the idea of “heart division made by nature”. In the Tang Dynasty, Zhang Jian further advanced the theory of “good fortune and good fortune for foreigners,” and began to point out the relationship between subject and object in painting. As well as the artist’s ability to refine and refine natural feelings. However, the artist’s emotional role in the creation has not yet been clearly expressed. However, based on the experience of previous painting, Shi Tao put forward the theory of “painter, from the heart” and “painter, form all things” through rich life practice. In Shi Tao’s view, the ultimate goal of painting is not purely delineation of natural objects, nor display of pen and ink skills, but by means of objective objects, feelings of what I feel and what I send to convey my feelings of life and aesthetic ideal .