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从19世纪末至20世纪初期,西方绘画在中国境内传播日广,中国画坛受到影响亦出现了一批革新的画家。从日本留学回来的高剑父等岭南派画家曾尝试将光和明暗法用于中国画,试图求得新的突破,但是西方绘画的光色传统与中国绘画的水墨传统自身所具备的强烈封闭性,使得两者的结合变得极为困难——如何处理墨和光色的关系不仅仅涉及到材料和画法,还涉及到文化接受的承继与变异这一更大的矛盾。岭南派画家的变革,因为过于强调明暗面和特定光源下的明暗关系,丧失了中国画自身的优势,变革虽然产生过一时的效应,但并未得到后来者的认可。而在同时代中,对“光”在中国画中的运用一直在努力
From the late 19th century to the early 20th century, Western paintings spread widely in China. A number of innovative painters appeared in the Chinese painting scene. Lingnan school painters such as Gao Jian-fu who came back from studying in Japan tried to apply light and light to the Chinese painting in an attempt to find new breakthroughs. However, the light-colored tradition in Western painting and the ink-and-ink tradition in Chinese painting itself are strongly closed , Making the combination of the two extremely difficult - how to deal with the relationship between ink and light color is not only related to materials and painting, but also to the greater acceptance of cultural acceptance and variation. Lingnan painter’s transformation, because too much emphasis on light and dark and light under a specific light source, the loss of the advantages of Chinese painting itself, although the change had a temporary effect, but did not get the approval of later. In the same period, the use of “Light” in Chinese painting has been working hard