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在中国画中,写意花鸟画最能体现文人画的精神和成就。它萌蘖于宋代,成熟于明代,到清代达于鼎盛,无论笔墨、色彩、造型、章法还是诗书篆刻的综合利用,乃至风格流派,都已臻极致。潘天寿以后,文人画传统仍占主导地位的写意花鸟画便无大师,这不但兼指作为文人画大师必备的文化修养,更直接说明问题的是绘画形式。今人至少在三个形式方面难于和前辈比肩:一是笔墨,二是造型,三是构图。写意花鸟画的主要绘画功力表现在用笔上,这同书法有密切关系。但具有独立审美的
In Chinese painting, the freehand painting of flowers and birds best embodies the spirit and achievements of the literati painting. It sprouted in the Song Dynasty, matured in the Ming Dynasty, reaching its peak in the Qing Dynasty, regardless of ink, color, shape, chapter law or the comprehensive utilization of poetry and calligraphy, and even the genre of genres, have been extreme. After Pan Tianshou, the traditional Chinese painting and calligraphy still dominates the freehand painting of flowers and birds. This not only refers to the cultural cultivation that is necessary for the masters of the literati painting, but also directly explains the problem in the form of painting. Today, at least in three forms are difficult to shoulder shoulders with their predecessors: First, ink, the second is modeling, the third is the composition. Freehand painting flowers and birds of the main performance of the skill in the pen, which is closely related with the calligraphy. But with independent aesthetic