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在中国画的表现过程中,在体察空间方式的过程中,是在远、近、高、低、上、下多方位感受自然,形成了空间意识,体积的暗示,更真切地把握宇宙节奏与生命的律动。中国画的空间与西方固定视点的焦点透视或西方印象派塞尚对空间的理解都不尽相同,中国画是有距离与深度感的暗示,但中国艺术家对空间的理解不是在画面可测量的距离与深度的视觉范围的层面上,体积的暗示是通过笔型与线的节奏实现的,最终的空间意识是化实景而为虚境,虚灵中纳含万物,无画处皆成妙境,虚白之处方是艺术家情感所系之处,是心灵空间及臆想空间的展现之处。
In the performance of Chinese painting, in the process of observing the spatial pattern, we feel nature in many aspects, such as far, near, high, low, upper and lower, forming an implication of space consciousness and volume, and more accurately grasping the rhythm and life of the universe The rhythm. The perspective of Chinese painting is different from that of Western fixed point of view or Western impressionist Cezanne’s understanding of space. Chinese painting is suggestive of distance and depth, but Chinese artists’ understanding of space is not based on measurable distance and depth The volume of the hint is achieved through the rhythm of the pen-type and line, the ultimate spatial awareness is the real situation and the virtual environment, the virtual spirit contains all things, no painting are all wonderful, imaginary The prescription is the place where the emotion of the artist is tied and the place where the mind and imaginary space are presented.