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水墨画与道在中国传统绘画当中,水墨画的兴起与发展深刻体现了道家文化思想及其审美情趣对中国绘画发展的影响。中国古代绘画本来是重色彩的。唐宋时期,中国绘画的色彩观发生了很大的变化。荆浩在《笔法记》中就说:“夫随类赋彩,自古有能,如水晕墨章,兴我唐代。”晚唐绘画论家张彦远也是最早的崇墨贬色论者,认为“运墨而五色具”。该时期的画论发展与唐宋之后水墨画的兴起逐渐演化形成中国画的墨可胜色的审美追求和标准。在审美思想上把丰富的色彩追求转化为恬淡的墨色变化,是中国绘画观念上的哲理性提升,从而导向中国绘画近代发展形态中水墨画大行其道的态势。
Ink Painting and Road Among the traditional Chinese paintings, the rise and development of ink painting profoundly embodies the influence of Taoist culture and aesthetic taste on the development of Chinese painting. Ancient Chinese painting was original color. Tang and Song dynasties, the color concept of Chinese painting has undergone great changes. Jing Hao in the “calligraphy in mind,” said: “husband with class color, since ancient times, such as water halo ink chapter, I am the Tang Dynasty. ” Late Tang painting theorist Zhang Yanyuan is also the earliest worship of the ink color criticism , That “transport ink and colored with ”. The development of the theory of painting and the rise of the ink painting after the Tang and Song Dynasties gradually evolved to form the aesthetic pursuit and standard of the Chinese painting. Transforming plentiful color pursuit into tranquil change of ink color in aesthetic thought is the philosophical upgrade of the concept of Chinese painting, which leads the trend of ink painting in the modern development of Chinese painting.