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中国画教学中一个被忽视了的问题近半个世纪以来,中国画专业的教学同油画、版画、雕塑等专业一样,一直把素描作为基础训练课程。尽管曾有几番关于“素描是一切造型艺术的基础”的论辩,但只能是见仁见智,各抒已见而自立门户.现行的教学模式大体上是先掌握严谨的素描写实功夫再转入中国画专业技巧的练习,而没有把作为中国画主要特点的“线”作为最根本的课题来研究,从而使素描训练所形成的先入为主的积习,直接影响了“线意识”的培育和养成及对东方线性艺术思维方法的感悟。几代人的艺术实践证明,再过硬的素描技巧,也不可能对中国画产生直接过渡。从这种教学模式出身的中国画家,虽然不完全像郎世宁用西洋技巧、中国的工具在画“中西折中”的中国画(图4),但较多的素描成分却掩盖了中国画独有的线条美和线描艺术的意蕴和魅力.从郎世宁的马与韩混的牛(图2)以及黄冑的驴(图3)
A Neglected Problem in Chinese Painting Teaching For nearly half a century, teaching Chinese painting has always taken sketch as a basic training course, like oil painting, printmaking, sculpture and other majors. Although there have been several essays on the subject that “sketch is the basis of all the art of modeling”, it can only be a matter of opinion and opinion and the expression of self-reliance has already been seen. The current teaching model is basically to first master the rigorous sketch and realism before turning it into Chinese painting Professional skills, rather than the “line” as the main feature of Chinese painting as the most fundamental issue to study, so that the sketch training formed preconceived plot, a direct impact on the “line of consciousness” to nurture and develop and the East The sentiment of linear artistic thinking. The art practice of several generations has proved that it is impossible to make a direct transition to traditional Chinese painting with perfect drawing skills. Chinese painters from this mode of teaching, while not entirely like Castiglione’s Western techniques and Chinese tools used to draw Chinese and Western artefacts (Figure 4), but more of the sketch composition masks the unique lines of Chinese painting The beauty and the art of line drawing imply the charm and charm of the line from Castiglione’s horse and Korean mixed cattle (Figure 2) and the yellow donkey (Figure 3)