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中国绘画艺术不善于运用凹凸明暗的绘画技法,且将其视为一种雕琢的技艺。其关键原因在于这种“形象生动”没有心灵深度,且往往辖制心灵深度的开掘。作为中国绘画艺术最高原则的“气韵生动”无需以“阴阳远近”“皆有日影”来模拟物理空间,而是以“笔力”“气韵”的传达来展现心灵的立体性。在老庄那里,外向的宇宙论诉求和内向的心灵深度扩展具有同构性的特点,而禅宗则将外在宇宙转变为内在的宇宙,并突出强调了时间、因果双重悖论状态下的心理体验过程。从“比德”到“畅神”再到“空漠”的心理发展轨迹正好印证了中国绘画艺术的发展逻辑。中国古代艺术作品推崇“冷”色调的使用,元明时期乖逆物象入画的现象则与这种心理发展逻辑密切相关,它揭示了中国美学、艺术写实并非具象,以及写意并非抽象的总体特点。
Chinese painting art is not good at using concave and convex painting techniques, and as a carving skills. The key reason is that this “vivid ” no soul depth, and often rule the soul of the depth of digging. As the supreme principle of Chinese painting art “Vivid and Vivid ” does not need to simulate the physical space with “Yin and Yang distance ” “ Everyone has the sun ”, but to “writing power ” “charm Show the spiritual three-dimensional. In Lao Zhuang, extroversion of cosmological appeal and introverted spiritual depth expansion are characterized by isomorphism, while Zen transforms the external universe into an inner universe and highlights the psychology under the double paradox of time and causation Experience the process. The psychological development path from ”Beide “ to ”Chang Shen “ to ”Hollow “ just confirms the development logic of Chinese painting art. The use of ”cold“ color in ancient Chinese works of art advocated the use of the ”cold" color in the Yuan and Ming Dynasties. The phenomenon of the image of goodies in the Yuan and Ming Dynasties was closely related to this logic of psychological development. It revealed that the Chinese aesthetics, artistic realism is not an image and the abstract is not abstract Features.