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古人作画,讲胸有成竹、意在笔先,皆强调观物、识理、传神,进而方可达意。如宋代文同“于员筜谷构亭其上,为朝夕游处之地,故画愈工。”(《宣和画谱》卷二十)唐代张彦远说:“守其神,专其一,合造化之功,假吴生之笔,向所谓意存笔先,画尽意在也。”(《历代名画记》)此即观物,说的是创作者对表现对象的深刻体会和整体把握。“非夫神迈高识,情超心慧者,岂可议乎知画?”(张彦远《历代名画记》)此即识理,即指欣赏者审美能力的高低。“传神”是中国画追求的一种理想境界。唐张怀瓘《画品》将画分为神、妙、能三品,并将神品列在首位。
The ancients painting, to say a good idea, intended in the pen first, all emphasize the concept of object, knowledge, vivid, and then can be reached. Such as the Song Dynasty with the same “in the staff of the Valley Pavilion Pavilion, as the place for the DPA, the more the painting. ” (“Xuan He picture book” volume twenty) Tang Yan said: “ Specifically, one of the merits of the meritorious, fake Wu Sheng of the pen, to the so-called Italian pens, the best of painting is also. ”(“ Famous Paintings in History ”) This concept, that is, the creator of the profound performance of the object Understand and grasp the whole. “(Zhang Yanyuan” famous paintings “) That is, that is, refers to the level of appreciation of the aesthetic ability of appreciators. ”Expressiveness“ is an ideal state pursued by Chinese painting. Tang Zhang Huai 瓘 ”paintings" will be divided into pictures of God, wonderful, can Mishina, and the gods listed in the first place.