3、              传说、典故、神话
3, legend, story, myth
1    考画院的传说
An examination of the Painting Studio legend
中国画十分讲究“藏”与“露”的关系，特别讲究如何“藏”的韵味。宋代的皇帝赵佶（徽宗）虽不善治国以至“靖康之耻”，他却能书善画，诗词功夫也非同一 般；他自创“瘦金体”的书法和形象细腻的画鸟画流传至今，堪称一代大师。据说宋代考宫廷画师时出了这样的几道题：“踏花归去马蹄香”、“深山藏古寺”、 “万绿丛中一点红”。
平庸的画师们将“踏花归去马蹄香”的画面表现为：一匹飞驰的骏马，跑过花园……；将“深山藏古寺” 的画面表现为：残锈班驳的佛堂被高耸云天、粗壮的古榕树所“半遮半现” ……将“万绿丛中一点红” 的画面表现为：一片绿茵茵的杂树林里，一枝紫红色的美人蕉在一枝独绣地绽放……。
Chinese painting is very particular about the "possession" and "disclosure" of relations, especially stress how "possession" of flavor. The Song Dynasty Emperor Zhao Ji (Huizong) have in the country and the poor "Jingkang the shame," he able to book good painting, poetry is extraordinary effort he created "the skinny body," the image of delicate calligraphy and painting bird painting Spread so far, be called generation master. It is said that during the Song Dynasty test Gongtinghuashi a few, such that: "Flower Guiqu horseshoe-riding", "Tibetan mountain temple" and "point-green leaves."
Mediocre portrait masters will "spend Guiqu horseshoe-riding" for the screen performance: a speeding of the Horse, running across Garden…. . . "Temple of the mountains" for the screen performance: residual rust Banbo the hall was high Yun Tian, Stout by the ancient banyan tree "is a half-shelter"…… "little green leaves red" for the screen performance: a Lvyin Yin miscellaneous woods, the Canna in a purple embroidered in a single bloom…….
应考画师夏珪将“踏花归去马蹄香”画为：初雨天晴，林间小道上，由远及近、稀稀地零落一行马蹄印；在最近的马蹄印上有三只蜜蜂，两只在蹄印上盘旋准备采 蜜，而另一只沿着“香路”一直向前飞去……；在“深山藏古寺”中，他将画面画成：在飞岩绝壁、蜿蜒的石矶小道上两名步履蹒跚的老和尚，正吃力地抬着一桶水 向山上走去，一旁是云雾缭绕的林海……；而在“万绿丛中一点红”的画面是：在一望无垠的绿色丛林与稻田间，一位紫衣少女双手分别拎着给亲人送午餐的饭篮与 陶瓦罐；那迎面拂面而来的山风，吹动着紫衣显现少女婀娜的身影，吹开少女的乌发露出美丽的脸庞——蛾眉凤眼、粉腮朱唇，透出春的气息……。夏珪终因很好地 处理了“藏”与“露”的关系而考上了画师。即：“踏花归去马蹄香”、“深山藏古寺”分别隐藏了 “马”与“古寺”；第一：用“马蹄印”来表现马，用蜜蜂来反映画面的主题——香；第二：用了“两名步履蹒跚的老和尚”来表现这个藏着的“古寺”，达到了 “含而不露、回味无穷”之目的。而在“万绿丛中一点红”中通过“绿色丛林”与“紫衣少女”刻画，露出了大自然和人间两种“春意”。
Kim will sit for the portrait master summer "spent Guiqu horseshoe-riding" for the painting: the early rainy weather was fine, Lin Jianxiao Road, from near and far, Xi Xi and scattered Mati Yin and his party in recent Mati Yin bees have three, two in Tiyin circled on the preparations for Caimi, and another along the "road-" has been exiting…. . . forward in the "mountains of temple," he will be painted screen: the flying rock cliffs, winding the breakwater Two small over the faltering of the old monk, is struggling to carrying a bucket of water going to the mountains, the clouds wind around the side of the Linhai…. . . In the "green leaves that red" is the screen: an oasis in a Green rice fields and jungles, a hands Ziyi girls were carrying their loved ones to send the rice basket lunch and Tao Waguan; Fumian from the face of the Shanfeng, a Ziyi Chuidong the shadow show girls Ena, blowing open the girls UFA reveal the beautiful face - Emeifengyan, Fensaizhuchun, disclosed the spring atmosphere……. Summer-kyu due to end well with the "possession" and "open" and admitted to the relationship between a portrait master. Namely: "Flower Guiqu horseshoe-riding", "possession of the Temple of the mountains" were hiding "Ma" and "temple" First: "Mati Yin" to performance of a horse, using bees to reflect the theme of the screen -- Hong Kong; Second: the "two old monk's faltering" to the performance of this hidden "temple", to "contain not reveal, implication Wonderland" purposes. In the "green leaves little red" adopted "green jungle" and "Ziyi girls" portrait of human nature and exposed the two, "Chun Yi."
2    人们喜爱的“吉祥画”
2 people's favorite "lucky draw"
如：《三羊开泰》、《福寿图》、《前程万里》、《大吉大利》、《上山虎》等。
⑴《三羊开泰》：癸未年已至，又是一个羊年。羊通“祥”，又与“阳”谐音，故羊儿历来被人们视为吉祥的象征。三只羊在—起寓意“三阳开泰”，取冬去春来，阴消阳长之意。故每逢羊年，画家中以此为题材作画者甚多。
⑵《福寿图》：画面上都是吉祥的象征——长寿的绶带鸟（绶：与寿谐音，即：长寿的意思。）、寿桃、仙果（佛手）等。
⑶《前程万里》：古钱、拂尘、万年青、李子（一种水果），摆在“乳臭未干”的孩子身边；以示“前程万里”。（钱：“前” 的谐音字、尘“程” 的谐音字、李“里” 的谐音字。）
⑷《大吉大利》：画面是雄赳赳、气昂昂的大雄鸡带着“家人”——妻子和一群蹒跚学步的孩子，在结满硕果的荔枝树下……。鸡：“吉”的谐音字；荔：“利” 的谐音字。鸡与荔枝，合起来就是“吉利”的意思。
（5）《上山虎》：上山虎寓意做任何都是“上升、吉利、威猛”等；故，做官、做生意（特别是做股票）的都要“讨个吉利”，因此，“上山虎”（如：本文介绍的《雪谷传啸声》）就是中国百姓所喜爱的。
Such as: "Sanyangkaitai", "Fushoushan map", "Mileage Plus", "Taijidali。"
⑴ "Sanyangkaitai": Guiwei, have to, but also a Year of the Goat。 Sheep-"Xiang", and "yang" homonym, the Yanger has always been regarded as auspicious symbol。 Three sheep - implication from the "San-Yang Kai Tai", from winter to Spring, Yin Xiao Yang of meaning。 Therefore, during the Year of the Goat, as a painter in the painting are many topics。
⑵ "Fushoushan map": on the screen are a symbol of good fortune - longevity Shoudai birds (Shou: TING homonym, namely: the meaning of longevity), Shou Tao, fruit cents (bergamot)。
⑶ "Mileage Plus": Guqian, Fu Chen, Wan Nianqing, plums (a fruit), placed in the "Ruxiuweigan" children who, to show "Mileage Plus。" (Money: "before" the homonym characters, dust, "Cheng" homonym characters, Lee "," homonym。)
⑷ "Dajitaili": the screen is Xiong Jiujiu, gas Angang of the rooster with a "family" - his wife and a group of children stumble toddlers, the full fruits of the end of litchi trees……。 Chicken: "Kat" homonym of the word; Lai: "benefits" of homophonic word。 Chicken and lychee, together is the "auspicious" means.
(5) "uphill Tiger": the mountains are any implication tiger "up, Geely, awe-inspiring ferocity" Therefore, government officials, business (especially the stock market is doing) to "seek auspicious", and "uphill tiger "(Such as: This article introduces the" Yukigaya Chuan Xiao Sheng ") is the favorite of Chinese people.
3    典故
⑴刘奎龄的《忠孝节义》
以典故入画的代表性——《忠孝节义》中，刘奎龄仍旧采取自己最熟悉的动物题材来表现中华民族的四种传统美德-犬在我们的传统中—一向是“忠”的代表；而羊 与“孝”也有着紧密的联系，《增广贤文》中有“羊有跪乳之恩，鸦有反哺之义”的句子，羊是吉祥的动物，吃奶时又都是跪着，因此被古人视为感恩、孝顺的象 征；牛吃苦耐劳，在古人心目中地位很高，至今很多地方仍流传着各种“义牛传”的故事，因而用牛来作“义”的代名词也很贴切；至于刘奎龄用马来表现“节”则 源于鸦片战争中的一个故事。1841年1月，英军攻占了虎门海口的沙角炮台，守将陈连升牺牲，他的战马被英军掳至香港。这匹马性情刚烈，英人喂之不食，骑 之则摔，近之则踢，惟独华人手捧食料喂它，它才肯吃，只要一提到陈连升的名字它就流泪不止。有人说要把它送回虎门，它便摇尾相随，但它最终还是未能回去。 后来它日夜在高岗上不吃不眠，望北而嘶，最终饿死在香港，被誉为“节马”。当时很多人都作了“节马诗”、“节马图”来纪念它。（刘奎龄(1885— 1967)，现代画家。字耀辰，天津人。曾任中国美术家协会天津分会副主席。他善画动物、花鸟，尤以狮虎见长，此外也能作山水人物。《忠孝节义》四屏条的 名字很容易让人认为是人物画。）
3 story
⑴ kuiling-liu of the "One-Day"
Allusions to the picturesque representation - "One-Day", LIU Kui TSE still take their animals are most familiar with the performance of the Chinese nation subject to the four traditional virtues - dogs in our tradition - has always been a "loyalty" of representatives; Sheep and "filial piety" and have close links, "Zengguangxianwen" in the "milk of the sheep have to kneel TU, A is nurturing the meaning of" sentence, the sheep is auspicious animals, when Chinai are Guizhao , Was the ancients regarded as Thanksgiving, the symbol of filial piety; cattle Chikunailao, high status in the eyes of the ancients, has many places are still spread all kinds of "cattle-justice," the story, thus cattle to "justice" a synonym for Is also appropriate; kuiling-liu As for the performance of Malays by "Day" is derived from the Opium War in a story。 January 1841, British troops captured Fort Humen Haikou, the Sha Kok, Shouqiang liansheng-chen the expense of his war horses were forced to the British garrison in Hong Kong。 This horse temperament Ganglie, Yingren not feed the food, while riding a lost past of the kick, only Chinese hands食料Weita, it Caiken eat, as long as the one mentioned liansheng-chen's name more than it tears 。 Some say it should be sent back to the Humen, it will be accompanied Yao Wei, but it ultimately failed to go back。 Later in the evening it did not take on Mian Gao Gang, Wang and North Sima, eventually starve to death in Hong Kong, known as "Ma Day。" At that time, many people have made a "Poetry Festival Ma," "Day-map" to commemorate it。 (Kuiling-liu (1885-1967), modern painter。 Characters Yiu-chen, Tianjin Ren。 Served as the Chinese Artists Association, vice chairman of the Tianjin Branch。 His good painting animals, birds and flowers, especially Shihu Kyo, in addition to mountains and rivers can also figures 。 "One Day" to the names of the four screen people think it is very easy to figure painting。)
⑵《八骏图》与陈英泉
以画明志的代表性——《八骏图》。1945年暮春，“甲午同庚会”中的著名画家郑午昌、汪亚尘、吴湖帆、杨清磬，戏剧家梅兰芳、周信芳、洪警铃，文学家范 烟桥等八人按“周穆王有八骏”的故事，约请当时海上画坛八位画马高手合作《八骏图》，由“甲午同庚会”八位同仁在图上签署，以表心迹。参与创作此图的画家 为：熊松泉、赵敬予、戈湘岚、殷梓湘、谢之光、谢碧月、陈英泉、徐韶九。他们各绘一骏，以象征“甲午同庚会”中八位志士。此图由书法家马公愚题签。题跋者 尚有书画家王福庵、张大干、冯超然、沈尹默、张谷年、潘勤孟及吴稚晖、李石曾等一大批名流。此图是—幅“图存八骏，志励千秋”的艺术珍品。
这件《八骏图》，曾在1985年《西泠艺报》创刊号上刊载过，这件事遂在当代艺苑引为美谈。然而，郑午昌等八位名士俱已作占，画马高手熊松泉、赵敬予、戈 湘岚、殷梓湘、谢之光五位也已相继去世，其中的谢碧月、徐韶九两位现在的情况不明，倘若健在的话，当也均是耄耋老人了。所幸其中的陈英泉先生至今仍活跃在 姑苏艺苑。
⑵ "Chun Figure 8" and yingquan-chen
Ming-chi to the representation of paintings - "eight Chun map。" 1945 late spring, "with the 1894 G" in the famous painter wuchang-zheng, yachen-wang, hufang-wu, qingxin-yang, dramatist lanfang-mei, xinfang-zhou, jingling-hong, writer yanqiao-fan, etc。 Eight persons by "eight weeks Mu Wang Chun," the story, invited eight paintings at the time the sea horse painting master cooperation, "Chun Figure 8", "G 1894 with the" eight colleagues on the signing of the plan to show what his intention。 Plans to participate in the creation of this artist as: songquan-xiong, jingyu-zhao, xianglang-ge, zhixiang-yin, zhiguang-xie, biyue-xie, yingquan-chen, shaojiu-xu。 They were each painted Yi-chun, for a symbolic "with the 1894 G" in the eight Chester。 This map by the calligrapher gongyu-ma that sign。 Tiba, there are paintings-fu `an-wang, daqian-zhang, chaoran-feng, yunmo-shen, gunian-zhang, qinmeng-pan and zhihui-wu, shizeng-li, such as a large number of celebrities。 This map is - pieces of "survival 8 Jun, Li Zhi-ages" of art treasures。
This "eight Chun map", in 1985, "Xiling Arts" published on the first issue, the matter then in contemporary Yiyuan Reply to Meitan。 However, wuchang-zheng, and so on for eight Fellows of the Juyi, painting master Ma songquan-xiong, jingyu-zhao, xianglang-ge, zhixiang-yin, zhiguang-xie, five have died one after another, one of biyue-xie, shaojiu-xu two unidentified present situation, if still alive, then when the elderly also are the oldest old。 Fortunately, one of yingquan-chen, is still active in the Gusuyiyuan。
三、    笔墨特点         
Third, the characteristics of ink
 我国素有“书画同源”之说；不管书与画，所用的工具是相同的。行笔、运笔等技巧相同，中国书法是“以线造字”，而中国画历来是“以线造型”（以线条为主 要造型手段）。尽管中国画的革新以色彩为突破口，并出现了大量的以色彩为主的现代作品，但是线条仍然起着重要的作用，传统绘画线条高超的表现技巧以及优秀 的文化内涵，已经被继承下来并有所创新。因此，研究中国画线条的历史发展轨迹，使我们对中国画线条的继承与创新有一个更清醒的认识是十分重要的。中国画线 条的突出特点是富有表现性，它是至今多数国家绘画艺术中的线条所难以企及的。
China is known as "painting identity," said; regardless of books and paintings, using the tools are the same。 T Bank, Yunbi skills such as the same, Chinese calligraphy is "line-defined" and Chinese painting has always been a "line modeling" (lines as the main means of modeling)。 Despite the innovation of Chinese painting in color as a breakthrough point, and a lot of color mainly to the modern works, but the line still plays an important role in traditional painting lines superb performance skills and excellent cultural connotations, has been inherited and By innovation。 Therefore, the study of Chinese painting lines of historical development trajectory, so that we Chinese painting lines on the inheritance and innovation of a more sober understanding is very important。 Chinese painting lines is a prominent characteristic of the rich performance, it is so far the majority of countries in the art of painting the lines and by the level of difficulty。
善于“牵着线条去散步”的德国现代主义大师克利说：“笔迹最关键的是表现而不是工整。请考虑—下中国人的做法。”中国画线条表现性技法的成熟虽然远远早于 西方，但它不是一步到位的，而是经历了漫长的发展。不动的线到飞动的线。人类在原始社会所创造的线条，主要是直线、横线和圆线。由于使用这些线，人们就可 以在画面上画出对象的结构，传达出所要传递的信息。此后随着文明的发展，人们又感到直线、横线和圆线比较呆板、僵硬和缺少动感和生命力，于是创造了一些波 状的、粗细不匀的、富有张力的线条。我们从周代青铜器《饕餮簋》、汉代画像石《骑术》中可以看出，中国画线条从公元前十世纪开始就有了巨大的发展：从平实 的线逐渐变为富有生命力的飞动的线条。这种变化是怎样表现出来的呢?
Be good at "holding line to walk," the German modernist master Klee said: "The handwriting is the most crucial performance rather than Gongzheng。 Please consider - the practice of the Chinese people。" Performance lines of Chinese painting techniques while the maturity far earlier than the West However, it is not a one-step, but through a long development。 Fixed-line to move the line。 In primitive society created by human lines, is a straight line, horizontal line and the Circle Line。 As the use of these lines, people can object on the screen to draw the structure, to convey the message。 With the development of civilization since then, people also feel a straight line, horizontal line and the Circle Line relatively inflexible, rigid and lack of dynamism and vitality, thus creating a number of wavy, uneven thickness, full of tension lines。 We from the Zhou Dynasty bronze "Tantalizing GUI", the Han Dynasty stone portraits of "Riding" can be seen in Chinese painting lines from the 10th century BC, there will be a huge development: from the line-is full of vitality into the gradually-moving Lines。 This change is reflected in how it ?
这要从线条的位置、运动方向、张力等方面来研究。首先，这两件作品中出现了波状线(亦称蛇形线)。这种线条的位置与方向不像直线那样固定，它好象是在摆动 而且活动的方向不确定，这样在视觉上就给人以动感。其次，这两件作品中的线条不像以往直线那样平直均匀，而是有粗有细，由此可知，作者在运笔时所用的力度 和速度是不均匀的。这种力度与速度的不同，就表现出线条在空间与时间上的运动，因而给人以动感；再次，我们从饕餮头部的向相反方向夸张性运动的线条中，从 马的四条腿最大限度地向不同方向伸展的姿态中可以看出，作者企图通过线条的巨大张力来表现饕餮、马的奋进，使青铜器、石头上的动物给人视觉上强烈的运动 感。正是通过这种运动感，才使作品表现出极强的生命活力。从轮廓线到表现结构、空间、亮度的条。有些人常用“单线平涂”来概括中国画的特点，这是不确切 的。单线平涂是人类早期绘画的共同特点。自汉末后，中国画的特点就难以用单线平涂来说明了。轮廓线尉旨所画物象的周边线。它面对的是所画物象与它所处空间 的关系，因此它只是把某一物象从大的背景中分离出来，而无法显现这一物象的内部结构和光分布。自从中国画家创造了独特的皴法、描法以及擦染之后，对物象内 部结构与光分布的处理，就不是借助透视法、明暗法，而是以本民族独特的表现形式描绘出来。从五代时董源的《潇湘图》中，我们可以看到中国画线条的发展变 化：
五代时董源的《潇湘图》（934～960)
 (934 to 960) during the painter yuan-dong "Xiaoxiang" Chinese Painting
This line from the location, direction of movement, tension, and other areas to study。 First of all, these two works in a wavy line (also known as snake-like line)。 The location of such lines and not a straight line as fixed direction, it seems to be swinging in the direction of uncertainty and activities, so that people with visual on the dynamic。 Secondly, the two entries in the past, not straight lines as straight uniform, but there are a small rough, So, the author Yunbi used by the intensity and speed is uneven。 Such intensity and speed of different lines on the show in space and time on the campaign, which gives a dynamic; again, we Tantalizing head in the opposite direction of exaggerated movement of lines, from the largest four-legged horse Limits to the extension of the different directions can be seen in the gesture, the author attempting to use the enormous tension lines to performance Tantalizing, Ma rousing, bronze, stone on the animal gives a strong visual sense of movement。 It is through this sense of movement, so that it works shown strong vitality。 From the contour of the performance, space, the brightness of。 Some people used "single-Ping Tu," to summarize the characteristics of Chinese painting, this is incorrect。 Single-Ping Tu is a common human characteristic of the early paintings。 Since the Late Han Dynasty, the characteristics of Chinese paintings will be difficult to use a single, clear-coated。 Contour Wei purpose by painting images of the surrounding line。 It is the face of the painting and its images in which the relationship between space, it is only a background of images from the separated, and can not show the images of the internal structure and light distribution。 Since the Chinese artists to create a unique Cunfa, depiction and rub into law, the internal structure and optical images of the treatment, not with perspective, shading, but to this nation unique form of expression painted out。 From the Five Dynasties period, Dong Yuan "Xiaoxiang map", we can see the development of Chinese painting lines changes:
此画用轮廓线界定了山的空间位置和整体走势后，对山体内的各个组成部分，均以长披麻皴线条加点来表现。众多披麻皴线条与点的有序排列，一方面刻画出山岭在 一定光线照耀下的皴纹，另一方面表现出山体内各个部分的有机组合，从而有效地描绘了山体的结构。这些表现结构的皴线、点与轮廓线融合后，山的雄姿秀态就尽 眼底了。
This painting used to define the contours of the space-location and the overall trend, Duishan the various components of the body, are in long lines Phi Ma Cun points to increase performance。 Phi Ma Cun many points of the lines and orderly, on the one hand sculpts the mountain in a certain light shining under the Cun Wen, on the other hand Chushan performance in various parts of the organic combination, effectively depicts the structure of the mountain。 Cun performance of these lines, points and contour integration, Hill Xiongzi show on the state to the eyes。
    此画没有用透视法照样画出物象的空间和距离，是由于画家灵活运用了皴线和点。画面的远景部分，画家用的是较短、较小、较淡的皴线与点；近景部分，则用较 长、较浓的皴点；山体背阴的部分，用较浓的短线与点；各个山头用重迭法画出，画家用这些方法表现出山体的纵深感。有人认为这种方法没有透视法科学准确。当 然，按透视法画出的物象显很逼真。但是，格式塔心理学家指出：透视法的准确是建立在透视缩短与透视变形基础上的，它仅仅是在二维空间表现三维幻觉，是对眼 睛的“欺骗”。因此，我们不必用透视法来苛求用皴、点与重迭法来表现物象空间距离——“深度”的中国画。
    This painting does not use the same perspective to draw images of space and distance, is due to the painter flexibility in the use of the Cun lines and points。 Screen the vision of the artist using a shorter, smaller, lighter and Cun-point close-range part, with longer, the Jiaonong Cun; Beiyin part of the mountain, with the short-term and Jiaonong points; Overlap with the various sects of paint, the artists use these methods Chushan performance of the Zongshen Gan。 Some people think that this method does not accurately scientific perspective。 Of course, the perspective of the images painted in very realistic。 However, the Gestalt psychologists pointed out: Perspective is built on the exact perspective and the perspective reduced on the basis of the deformation, it is only two-dimensional space in the performance of three-dimensional illusion, the eyes of "deception。" Therefore, we do not have to use perspective to expect with Cun, the points of overlap and show images from space - the "depth" of Chinese painting。
此画没有用明暗法也画出了物象的光分布。这是因为画家利用皴线有疏有密的排列与部分留自来描绘山体的明部与暗部。显然，这幅画似乎没有固定光源和合乎比例 的明暗层次(亮度梯度)，但这样的作品并不像有人说的只强调线条韵律不要光，而是采用垂直光分布、正面光(正面留白)来表现光亮，背面、侧面用密集的短皴 与点来表现。这种特殊的正面光与明暗分布法，源于道家哲学“万物负阴而抱阳”的观点。董源之后，画家们又把皴与擦融为一体，    进一步表现了物象的明暗层次，色彩的渲染对用皴擦表现光分布也起了辅助作用。这样在表现光的过程中，各种线条一直起着主导作用。董源作品中的线条组合， 不仅表现了物象的光分布，而且表现了空气的湿度——南方群山的华滋湿润、苍茫葱郁。这是在西洋画中难以见到的。
 This painting is of no use to draw the shades of images of light distribution。 This is because the artists use Cun lines are infrequent and are of the order to remain part of the mountain of unsolicited depict the dark and the Department of the Ministry。 It is clear that the painting did not seem to be a fixed proportion of light and shades (brightness gradient), but this does not work like some people say that the rhythm of lines that will not only light, but use of the vertical distribution of light, a positive light (positive blank ) To performance Bright, back, side with the short-Cun and point performance。 This special positive light and dark distribution method, derived from Taoist philosophy of "all things which have negative yin-yang" point of view。 Dong Yuan, painters and wipe again Cun integration, further demonstrated the shades images, the color rendering of using performance-Cun wiping distribution also played a supporting role。 This performance in light of the process, the various lines has played a leading role。 Dong Yuan works in the combination of lines, not only the distribution of images of light, but also the humidity of the air - the southern mountains, mayonnaise and humid, lush Cangmang。 This is in Western painting it is difficult to see。
从”存形”的线条到抒情的线条。在唐代以前，中国画以反映社会生活，描绘明君、忠臣、烈士、贞女等人物为主。在留下历史人物真容方面，绘画优于其它著作，所以陆机说：“存形莫善于画。”习附的绘画线条功能主要在服务于“存形”，即真实描绘客观对象。
From the "shape of" the lyric lines to the lines。 Before the Tang Dynasty, Chinese painting to reflect the social life, depicting Mingjun, loyal, martyrs, Zhennv such as the main characters。 The capacity to stay true historical figures, the painting is superior to other works, Lu Ji said: "The shape of good at-painting。" Habit of painting lines in service at the main function "of shape," painted an objective that is the real target。
     自从宋（960—1279年）、元（1271年—1368年）以后，中国画由以人物为主，逐步转为以山水、花鸟为主，由反映社会生活、描绘历史与现实人物 为主，转向以描绘自然景物来折射社会生活，抒发画家感情为主。为了服从这一目的，画家们对线条作了大胆的革新，创造了具有独立审美价值的抒情线条。这种抒 情线条与写实性线条的主要差别在以下两个方面。第一、抒情线条特别重视线条的自身张力。所谓张力，简而言之，就是一种相反相成的力。线条张力可分组合张力 与自身张力两种。顾恺之仅用横线条与倾斜卷曲的线条组合，就刻画出了人物的形貌与动态。然而他用的这种线条均匀细长，自身并无明显张力。
Since the Song Dynasty (960-1279), Yuan Dynasty (1271 -1368), the Chinese paintings from the main characters, and gradually into the landscape, birds and flowers mainly from the social life, depicting historical figures and reality-based, to To Refractive to depict nature of social life, to express feelings of the main artists。 To submit to this end, the painter who made the bold lines of innovation, creation of the independent aesthetic value of the lyric lines。 This lyrical lines and realism of the main differences between lines in the following two aspects。 First, the lyrical lines attached particular importance to the self-tension lines。 The so-called tension, in a nutshell, is a contrast Xiang-cheng of the force。 Tension combination of tension lines can be divided into two with its own tension。 Gu Kaizhi only horizontal lines and tilt curly lines portfolio, depicts a figure on the morphology and dynamics。 However, he used the uniform of this slender lines, there was no apparent tension itself。
梁楷的《六祖斫竹图》、倪云林的《紫芝山房图》、华岩的《金谷园图》等，就与顾恺之的线条不同了，其线条借鉴了书法线条的特点，自身具有明显的张力。画家 在画线条时，不仅像书法家那“欲左先右”、“欲上先下”，而且要使线条有虚有实、有曲有直、有浓有淡、有轻有重、有粗有细、有断有续、有行有留等等。把以 前平直、均匀、细韧的线条变得曲折顿挫、千姿百态，极富情致。画家复杂多变的情感，借助这种多姿多变的线条得到了充分的宣泄。这正是中国画线条发展到高级 阶段所呈现的奥秘与难以企及之处，它是几十个画家共同创造的成果。
kai-liang's "Liu Zuzhuo bamboo map", yunlin-ni "Zizhi Shan Fang Shi map", yan-hua "Jingu park map", with kaizhi-gu different lines, the lines drawn calligraphy lines The characteristics of their own obvious tension。 Painter painting in the lines, not only calligraphers like that "to the left to right," "For the first", but if there is virtual lines are, a song straight, thick with short, light a weight, Rough is fine, there have continued off and will stay there, and so on。 Of the previous straight, uniform, fine lines become tough Duncuo twists and turns, Qianzibaitai, very Qingzhi。 Painter complex and changeable emotions, by changing the lines of this scene was fully venting。 This is precisely the development of Chinese painting lines presented by the advanced stage of the mystery and difficult to reach in, it is dozens of artists work together to create results。
第二、抒情线条并不是自然状态的线条，而是有笔法的线条。中国画笔法主要是指用笔方法。它是中国画的另一个重要奥秘。中国画笔法，除了大家熟知的不同于西 洋画的执笔法之外，最值得重视的是运笔法，而且不同类型的线条有不同的运笔法。运笔法也就是笔锋接触纸面时怎样运行的方法，它有多种形式，大体上可分为空 间运动形式与时间运动形式。不同的轮廓线，不同的皴法、描法，其线条的空间与时间运动形式是不相同的。空间运动形式有几十种，主要是提按、旋转(绞转)、 平动、摆动、从容流行等。时间运动形式也有多种，主要是疾迟(包括快速、中速、慢速)、行留、节奏、涩行与跳动等。中国画家自从掌握了这种笔法后，不仅能 “牵着线条去散步”，而且能凭借它翱翔于艺术的王国，刻画各种物象，抒发复杂情感，表现不同个性。这种笔法正被现代画家继承、发展，具有很强的生命力。
Second, the lyric line is not the natural state lines, but a technique of the lines。 China brushes law mainly refers to a pen method。 It is another important Chinese paintings mystery。 China brushes, in addition to the familiar Western painting is different from the written law, the most worthy of attention is Yunbi law, but also different types of lines have different Yunbi law。 Yunbi law is Bifeng contact paper, how to run the method, it takes many forms, in general, can be divided into space and time form of sports movement forms。 The outline of different lines, different Cunfa, the depiction of its lines of space and time form of movement is not the same。 Space the form of dozens of sports, mainly to the rotation (able to), translation, swing, pop, and so calmly。 Time has a variety of movement forms, mainly late disease (including fast, medium speed, slow), to stay the pace, such as Shibuya Bank and the beating。 Chinese artists since the master the technique, not only can "lead line to walk," but also by virtue of its flying in the Kingdom of Art, depicts the various images, to express complex emotions and performance of different personality。 This technique is being modern painter inheritance, development, and has strong vitality。
现代中国画中的线条。中国画线条经过宋、元、明、清众多画家的创造，达到新的高度。然而艺无止境，随着时代的前进，人们审美能力的提高，中国画线条仍在发展。最近几十年，特别是最近十几年，不少现代中国画家在继承前人技法的基础上，创造了许多前无古人的新线条。
Modern Chinese Painting in the lines。 Chinese painting lines in the Song, Yuan, Ming and Qing dynasties, such as after a large number of artists to create, to reach a new height。 However arts indefinitely, with the progress of the times, people's ability to improve the aesthetic, Chinese painting lines are still developing。 In recent decades, especially in the last 10 years, many modern Chinese painters in succession on the basis of previous techniques, has created many unprecedented new lines。
例如，李可染创造了深邃含蓄的“金错刀式”的线条；朱屺瞻创造厂老辣雄健的“铁干银钩式”的线条；刘文西创造了长于描绘北方人物古朴刚劲的线条；黄永玉创 造了曲折多姿的“不连贯”线条；吴冠中创造了极富韵律美的与点分离的长线条；黄胄创造了具有力度美的近似面的宽线条；周韶华创造了线与面、线与色混融一体 的具有面的效果的线条；富中奇创造了具有装饰美的表现乡土情结的线条；邱笑秋、宋雨桂等创造了以色彩笔触与水墨线条相融合的新线条等等。这些线条的创造， 丰富了中国画的表现力与抒情功能。关注绘画艺术本体中点、线、面、笔墨等抽象的艺术形式；关注绘画空间上的模糊性所引发的观众的想象与再创造。因而，中国 传统绘画艺术具有象征、写意、表现的基本特征。以想象真实代替视觉真实是它有别于西方古典写实性艺术的特征，也是中国画诗意化的体现方式。在观察与表现手 法上，中国画“外师造化，中得心源”(张躁语)。并不是完全照抄模仿自然的客观物象，而是加入了创造者很强的主观色彩，即在造化自然的基础上，有所思想， 有所寄意。  当前，中国画家正在越来越多地使用墨彩与色彩，全色彩“没骨画”得到了长足的发展。但是，线条并没有被削弱，更不会消失，而是在不断创新中形成新的形态、 获得新的生命力，显现出更有时代特点的东方绘画韵味。
For example, keran-li created a profound implication of "the wrong knife-style" lines; qizhan-zhu plant Laola Xiongjian create the "Iron stem Yingou" lines; wenxi-liu longer than that depicted the North created a figure of the ancient lines Gangjin ; Yongyu-huang created a variety of twists and turns "not coherent" lines; guanzhong-wu created a very rhythm of the separation points and the long lines; zhou-huang has created the intensity of the United States has the approximate width of the lines; shaohua - zhou created a line and face, one Hunrong color and line with the results of the line; rich in creating a singular performance of the United States decorated with native complex lines; xiaoqiu-qiu, yugui-song, and so create a color strokes and Ink lines of the integration of new lines, and so on。 The creation of these lines, enriching the performance of Chinese painting and lyric function。 Concerned about the midpoint of body painting art, line, flour, ink, and other abstract art form; drawing attention on the fuzzy space triggered by the audience's imagination and the re-creation。 As a result, traditional Chinese painting art symbolic, Freehand, the performance of the basic characteristics。 To replace the vision to imagine the real truth is it different from Western classical realism of the characteristics of art, Chinese painting is the embodiment of poetic way。 In the observation and performance practices, the Chinese painting "division of good fortune, in the heart of the source" (zao-zhang language)。 Mechanically imitate nature is not entirely the objective images, but joined the creators of the highly subjective, that is natural on the basis of good fortune, some thought, to send Italy。 At present, the Chinese artists are more and more use of color ink and color, full-color "no bone painting" has been developed by leaps and bounds。 However, the lines have not been weakened, will not disappear, but in the constant innovation in a new shape, with new vitality, showing more characteristics of the times Oriental painting flavor。
四、    中国画色彩的魅力
Fourth, the charm of Chinese painting color
我国古代绘画从来就重视色彩的运用，历代画论对色彩的研究达到很高的水平，古代画家很早就总结了季节、气候不同所引起的物象色彩的变化，并谈到冷热色彩的运用。
Ancient Chinese painting has never been to the use of color, history painting of the color of the study achieved a high level of the ancient artists have long summed up the season, different climate caused by changes in color images, and hot and cold on the use of color 。
[唐]王维在《山水论》中论道：“有雨不分天地，不辨东西，……雨霁则云收天碧，薄雾菲微，山添翠润，日近斜晖。早景则千山欲睡，雾霭微微，朦胧残月，气 色昏迷。晚景则山衔红日，帆卷江渚，……春景则雾锁烟笼，长烟引素，水如蓝染，山色渐青。夏景则古木蔽天，绿水无波。……秋景则天如水色，簇簇幽林，…… 冬景则借地为雪，樵者负薪，渔舟倚岸，水浅沙平。”说明这时我国山水画家对气候、朝夕、季节色彩的变化有了更细致深入的分析，并运用到绘画创作中去。
[Ancient Tang dynasty] wei-wang (701-761) in "Landscape" said: (Chinese painting paintings), "regardless of world weather, things did not identify,…… Yu Ting-yun is up to the sky blue, the fog is Thin, Cui Tian Shan of China and Japan in recent ramp-hui。 Qianshan as early as the King Yushui, little fog, clouds obscured the moon is about to dawn, his luster has been dark。 Wanjing is the title of Red Hill, Vol Fan Jiang Houzhu,… … Chunjing lock Yanlong, fog, smoke Reply-long, with water as blue, green Shanse gradually。 Xia Jing, Gumubitian, no-green water。…… Qiujing, such as water color days, Cucuyoulin,…… Dongjing, Jiedi for snow, Qiao who paid negative, Yuzhou rely upon the shore, shallow sand-ping。 "Landscapes of China's family at this time that the climate, overnight, seasonal changes in color have a more in-depth and meticulous analysis and creative use of painting He said。
[宋]郭熙在《林泉高致》中指出：“水色：春绿，夏碧，秋青、冬黑。天色：春晃，夏碧，秋净，冬黯。”郭熙是中国古代大画家，又是杰出的绘画理论家，他概 括地总结了水色和天色的季节变化。 [清]唐岱在《绘事发微》中说道：“山有四时之色，风雨晦明，变更不一，非着色以像其貌。所谓春山艳冶而如笑，夏山苍翠而如滴，秋山明净而如淡，冬山惨淡 而如睡，此四时之气也。” [清]沈宗骞在《芥舟学画编》中也生动而具体地介绍四季风景的色彩画法：“春景欲其明媚，凡草坡树梢，须极鲜研，而他处尤黯淡欲以显之。故作春景，不可多 施嫩绿之色。-……夏景欲其葱翠，山顶石颠，须绿面加青，青面加草绿。…秋景欲其明净，疏林衰草，白雾苍葭，……冬景欲其黯淡，一切景物，惟松柏竹及老树 者，可用老绿，余惟淡赭和黑而已。”形象地描述四季色彩的特点，说明中国画也必须用色彩表现季节和气候的变化。  
 [Song] Guo Xi "Linquan to high" (Chinese painting paintings) pointed out: "Color: Spring Green, Xia Bi, Autumn Green, black winter。 The weather: Haruaki, Xia Bi, a net fall and winter An。 "Guo Xi is the ancient Chinese painters, painting is an outstanding theorist, he summed up the general water color of the weather and seasonal changes。 [-] Tangdai in the "micro-painted the incident," said: "The mountains are 4 color, wind and rain Huiming, change varies as to its non-colored old。 Yanye the so-called spring-like and laugh, but as summer-green drops, Akiyama and reduces noise reduction resulting such as desalination, Dongshan and gloomy as sleeping, and 4 of this gas also。 "[Qing] Zong Qian in" mustard of the boat for painting "vivid and concrete also introduced the four seasons of color landscape painting:" For Chunjing Its beautiful, all grassland Shushao to be a fresh inquiry, and he was at a particularly bleak Yuyi。 Guzuochunjing, not more Shi Nenlv of color。 -…… Xiajing to its Congcui, the Peak-Britain, to be Green-and blue, green face and Caolv。… Qiujing to its reduces noise reduction resulting in Woodland Shuaicao, Bai Wu Chang Jia,…… Dongjing to its bleak, all the features, but pine and cypress trees and bamboo, use the old Green, Ms However, desalination Zhe and black only。 "Color image to describe the characteristics of the four seasons, shows that the Chinese must also be painted with color performance of the season and climate change。
沈宗骞还谈到人体的色彩画法：“人之颜色，由少及老随时而易，婴孩之时，肌嫩理细，色彩晶莹，当略现粉光，少施墨晕，要如花朵初放之色。盛年之际，气足血 旺，骨骼隆起，当墨主内拓，色由外提，要有光华发越之象。若中年以后，气就衰而欲敛。色虽润而带苍，棱角折痕，俱属全显，当以墨植骨，色以融神，要使肥泽 者浑厚而不磨棱，瘦削者清峻而不晓刻。若在老年，则皮绉血衰，折痕深嵌，气日衰而渐近苍茫，色纵腴而少憔悴，甚或垢若冻梨，或绉如枯木，当全向墨求，以合 其形。屡用色渍，以呈其色。要极其斑剥而不类于尘滓，极其巉岩而自得其融和。凡此尚特言其大概耳。至于灵变之处，非可概视，如人皆以凸处色宜淡，而不知头 面之上其突出处动冲风日，则其色必深。其洼处风日少到，则其色必浅。……又人皆以妇人及少年之色宜嫩白嫩红，而不知少年及妇人亦有极苍色者。中年往及老年 之人亦有极嫩色者，然少而色苍，究是少年之神色，而不与老年类，老而色嫩，究是老年之气色，而不与少年同。“对人体肤色因性别、年龄、健康情况而有不同的 特点说得细致深入。尤其能辩证地分析遍规律和特殊现象的联系，真是一篇精辟的色彩学的论述，值得我们去欣赏与学习。
Zong Qian also talked about the human body color painting: "People of color, from the old and less susceptible at any time, the baby, muscular young justifications small, color crystal, when the powder-like now, less Shih Mexico halo, such as flowers early Release of color。 Prime time, the blood-foot-wang, bone uplift, when the ink in the main extension, from the color of mention that the Vietnamese have our signs。 If the middle-aged, the gas on the decline in order Convergence。 Although the color Run-and with Cang, angular creases, are both full-significant, when bone graft to ink and color to melting of God, to make fertilizer-taek, who not let the grinding edge, thin-Jun, rather than deliberately。 If in old age, the skin Crepe bad blood, embedded deep creases, gas, bad and asymptotic Cangmang, color vertical Low and less haggard, or even if the scale freeze pears, such as crepe or dead wood, and when all seeking to Mexico, with its shape。 Repeated use colored stains , Was its color。 Banbo not be very kind to dust Zi, extremely Chan Yan and get its own integration。 All this is still special statement about their ears。 As for the change of Hope, a non-Almost as if people are to Convex color to the light, and I do not know Toumian on its outstanding on the fixed-wind, its color will be deep。 Their depression, the less wind to, its color will be shallow。…… And people are women and juveniles The color should welcome the Nenhong, and I do not know juveniles and women who are extremely Cang color。 Middle-aged and older persons to have a very soft colors, but less and color Cang, the study of juvenile looks, but not with the elderly Categories, old and soft colors。 This is the gas-aged, not the same with Junior。 "Colour on the human body because of gender, age, health conditions and have different characteristics put it in depth and meticulous。 In particular, to the dialectical analysis of the law and special phenomenon all over the link, is a brilliant exposition of color, it is worth us to appreciate and learning。
所谓生动就是十分的节奏，物象变化运动的节奏，现代社会已进入数码时代，韵律是高速运动的，画家的思想无法逃避现实，要把对当今的思想感情融进画中借助绘 画浯言表达自己的情感-所以写意即写今时代之意，写现实生活之感；之所以称；为色彩写意，也正是当今绚丽斑斓的多彩世界需要感官刺激，绘画已走入国际化， 是在继承传统基础上跟上时代潮流。正如石涛说的“笔墨当随时代”色彩的层次具有精致的特征，能在心灵甲唤起；‘辞不能表达的微妙感情，然而表像的第一层刺 激并不会因人们只追求本质而消亡。
The so-called is a very lively rhythm, the rhythm of images in sports, modern society has entered the digital era, the rhythm is the high-speed movement, the painter can not be thinking of escapism, to the thoughts and feelings of today's assimilation into a painting by painting Wu statement to express their Feelings - so that the freehand brushwork write this era of Italy, wrote a sense of real life; has said; color for the freehand brushwork and gorgeous Banlan today is the need for sensory stimulation and colorful world, has entered the international painting, in carrying forward the tradition On the basis of catch up with the trend of the times。 As Shi Tao said: "When the ink with the times" with the level of exquisite color characteristics, can arouse a soul; 'speech can not express the feelings of delicate, but the table as the first layer to stimulate people and not only because of the nature and the pursuit of extinction 。
色对人的感官刺激仍时时存在，唤醒人们不要完个忽视它，并与此产生了墨对色彩世界的表现足与不足的论：光色事实的空间中的确有无法为水墨所完全复合进的自 然客体；“日照香炉生紫烟”的紫是多幺细腻观察的心得。“朝辞白帝彩云间”的彩云，“千里莺啼绿映红”的富丽，“窗含西岭千秋雪”的明媚，“苍山如海残阳 如血”的豪壮、其强烈的色彩视觉刺激也不能不逆反而浮现出光彩照人的影像，流露于艺术家的心底、笔间；那些超凡脱俗的文人，也要思考以色彩补水墨之不足 了，尤其是花鸟画中“黄家富贤”（牡丹）、“徐熙野逸”（兰竹）各领风骚：这从文人心理上或许讲是补水豢之不足，但事实上：是平分秋色，色彩本身即具有时 空的自然归赋与心知的随意流露，花开花落几乎年年如血；朝朝暮暮天天重演，高原草地则天壮地雄，锦绣江南则山清水秀，时空的自然归什重迭也白成类相，花 色、云露、黄土、青草、绿水等等无不如此，这是更为丰富多彩的绘画艺术天地。所以，巧意色彩足顺应时代的发而产牛的，艺术家的任务是如何找到自己的时代语 言去表达那份真挚的情感。
Color of the sensory stimulation is always there, awakening people not to ignore it End months, and this produced a color ink on the performance of the world and the lack of adequate theory: Light and Color in the fact that there is indeed a space for the ink can not be totally into the compound The natural objects; "sunshine incense burners produce purple clouds" Purple is 11 more delicate observation of the experience。 "Choi Wan in the morning surrounded by Cibie Baidicheng" Choi Wan, "Trinidad Yingti Green Yinghong" Wealthy "window of the ages of Xiling Snow" beautiful, "green mountains as spectacular as the sea, the evening as the sun Like the bright red blood, "the Haozhuang, the color of their strong visual stimulation can not but come to Guangcaizhaoren Converse and the images revealed in the hearts of artists, among T; Step beyond those of the literati, but also thought-ink color to the lack of , In particular, Flowers and Birds Painting in the story: "Huang Fu-yin" (Peony), "XU Xi Ye Yi" (Lanzhu) a leading position: This is perhaps the literati psychological stresses Water Warning is inadequate, but the fact is: the average distribution Autumn scenery, the color itself is the natural time and space to the heart that give the free show, flowers Whispering almost every year as blood; Chaozhaomumu repeat every day, while the plateau grass-to-day strong, beautiful Gangnam is a beautiful time In the even of natural overlap of the type also BAI Cheng, color, Lu Yun, loess, grass, green water, and so on all of this, it is more colorful painting art world。 Therefore, Qiao Yi comply with the full color and the middle of cattle, the artist's task is how to find their own language to express the times That sincere emotion。
5    中国画的用光
5 Chinese paintings of light
一位大画家曾说过，一位美术家的重要性，是由他引入美术语言中创新符号数量的多寡决定的。中国古典绘画中的光，大都是表现明暗分布的。现代中国画中的光， 不仅表现明暗分布，而且成为刻画形象、突出主题、表现画家情感的新艺术语言。现代中国画家的这种创造，对中国画的革新与发展功不可没。对此我们必须给予足 够的重视。
A great artist once said, the importance of an artists, he is by the introduction of innovation in the language of art the size of the number of symbols of the decision。 Chinese classical painting in the light, most of the distribution of brightness performance。 Modern Chinese Painting in the light, not only brightness distribution, and a portrait image, prominent theme, emotional performance artists of the new artistic language。 The modern Chinese painters such creation, the innovation of Chinese Painting and development achievements can not be ignored。 We must give them adequate attention。
王履《华山图画》   Wang Li, "Huashan picture。"
明初画家元履以自然为师，所作<华山图》册页四十幅，皆由写生观察得来，光感甚强，故山石明亮坚实，气势雄伟；而冷谦的《白岳图》纯用下：笔焦墨擦 出的山石。明暗分明，光感显著，尢其画幅中部树林的顶稍留出光亮部位，与山石白云亮部协调统一,深得自然光影之妙  浙派画家继承南宋水墨苍劲的画法，全以大斧劈及拖泥带水皴勾斫，多近块的造型，放山头每出现明显的光感。试看张平山的《山雨欲来图》上部的山峰，竟有类似 逆光的感觉，更属奇特。吴派画家唐寅十分注重画的明度，如《深山伴侣》中的山石，明部过渡自然、暗部对比强烈、调子准确，显得整幅画面明媚动人，非对光的 明度有深入观察不能表现至此。清代力倡革新的石涛，所作山水极有创意，并且“搜尽奇峰打草稿”，努力表现对自然景物的真切感受、其画山石每留出空白面，而 在山顶和山脚用浓墨衬托，显得光洁明净，水墨淋漓，画面中山水更得光影微妙之趣。他的《搜尽奇峰图卷》和《双清阁图卷》中，对树林的光影表现更是奇妙之 至、在中国画“用光”史上值得大笔一书的是金陵八家之首的龚贤—其作品墨韵深厚、层次丰富，在乌黑亮泽中迫出强烈的—)亡感。
Early Ming painter yuan to Li for the natural division, made by the <Huashan picture "of the 40-page booklet, in the observation of them paint, very strong sense of light, the bright solid rocks, the magnificent momentum, while the" Baiyue picture "with pure Under: Stroke at a depth of the shades together to make Mose to the rocks。 Shading clear, light feeling significantly, particularly in Central Picture woods just to stay top of the site to light, bright white clouds and rocks Department of harmonization, won the wonders of the natural lighting of Zhejiang painter inherited the ancient "Southern Song Dynasty," during the Cangjin ink paintings Law, and all the big Fupi Tuonidaishui Cun hook Zhuo, and more recent pieces of modeling, every hill-a clear sense of light。 Let us look at Zhang Ping Shan "when it rains in the mountains to the picture" of the upper peaks, the total of similar backlight feeling, even more peculiar。 Miss Tang Yin painter painting a lot of importance on the lightness, such as "deep partnership" in the mountains and rocks, that the transitional nature of the dark contrast of the strong, accurate tone, it is moving whole screen was bright, non-brightness light of the observation can not have an in-depth performance this。 Shi Tao Li Chang Qing Dynasty innovation, the landscape is very creative, and "search all the strange peaks to the outline of a painting," to the nature of the performance of real feelings, every painting rocks remain a blank face, and on the Peak And the foot with Nongmo background, it is bright and clean reduces noise reduction resulting in ink Lin Li, the screen in landscape lighting in the more delicate of Fun。 His "search all the strange peaks plans volumes" and "double-Club plans volumes", the lighting performance of the woods is wonderful all due, in Chinese Painting "used up" worthy of the history of the book is huge, "the Tombs of eight "summit - Gong Xian - his works ink flavor deep, rich levels, in black Liangze in forcing strong -) dead feeling。
对林木及点景物的渲染也常显出光的神秘，对后人颇多启迪；需要指出的是，晚清随西方教会进来的所谓传教土画家，如郎世宁、艾启蒙等，他们基本上是用中国画 的工具和题材形式画西洋画，画面全按西洋透视明暗关系刻刨，所作无论花鸟动物或人物风景，都是典型的“素描加勾线”式的画法，因其缺少笔墨气韵和情趣，缺 乏中国画的传统气质，故亦与本文试图建立之“用光”系统无涉。综上所述，传统中国绘画中，历代都不乏对光有所观察和表现的画家或作品，尽管这些表现大都是 无意识的，而臣程度上与我们现代人对光的观察和理解差别甚大，但也可证明“光”作为绘画上二不可或缺的一种因素，在我国千百年来的绘画实践中确已普遍地存 在着，并对我国绘画的发展进步有着不容忽视的作用。
Forest and the point of rendering features often demonstrate the mysterious light, a lot of inspiration for future generations; needs to be pointed out that the late Qing Dynasty with the Western Church entered the so-called missionary territories artists, such as Lang Shining, the Enlightenment, such as Viagra, they basically Chinese painting is the subject of painting tools and Western painting, Western perspective on the whole screen brightness relations carved shaver, animals or birds and flowers made by both figures landscapes, are a typical "hook and line drawings" type of painting, because of their lack of ink Qiyun And interest, the lack of traditional Chinese painting temperament, Guyi with this attempt to create "light" system-free。 In sum, traditional Chinese painting in the past have had no lack of light observation and performance artists or works, although these are mostly unconscious performance, and Robinson extent with our modern light of observation and understanding vary widely, But can also prove that the "light" on the painting as an indispensable factor in China for thousands of years the painting is indeed universal practice exists, and the development and progress of China's paintings have the effect can not be ignored。
中国画以线条为主要造型手段，特别是自宋元以来，文入画家一直“以水墨为上”，把光色放在次要位置，而且光与色又处于分离状态，所以有人误认为：“中国画 却是线的韵律。光不要了，影也不要了。”其实，画面上如果没有光，便一片漆黑，那叫什幺画呢?所以宋代的韩拙说：“笔以立其形质，墨以分其阴阳。”清代沈 宗骞进一步指出：“画之色，非丹铅青绛之谓，乃在浓淡明晦之间。”“阴阳”、“明晦”中的“阳”、“明”指的就是光，只是中国画家对光色的认识是哲学的、 经验的罢了。因此，中国画家没有原生影、派生影、全明暗、全色彩等概念，而是把画面上的光分成正面光、固定光、平面光等。现代中国画家受到现代哲学、现代 科学与现代人审美要求的影响，其画面上对于光的处理发生了巨大的变化，在保留部分中国人审美习惯的同时，又大胆突破正面光、固定光、平面光的束缚，创造了 新的光色语言。用强光、顶光、开光取代正面光。所谓正面光，就是光线从正面平射到物象上。正面是阳，是受光面；背面是阴，是背光面。正面光的表现源于道家 思想。
Chinese paintings to form lines as the main means, especially since the Song and Yuan Dynasties, the text of the painter had been "to ink for" the light color on a secondary position, but also light and color in a state of separation, so some people mistakenly believe that: " Chinese painting is of the rhythm。 Do not light, the shadow will not。 "In fact, if there is no light on the painting, then a dark, be called a picture of how it? Therefore, Song Han Zhuo said: "brush to stand up Campaign-based, the depth of color ink used to distinguish between East and West and North-South backlit by the smooth surface, and so on。 "Zong Qing Qian further said:" The color paintings, non-lead Dan Jiang Qing of that is in the shades between the Hui "he said。" Yin and Yang "," Ming Hui "in the" Yang "and" Ming "refers to the light, only light colored Chinese painters is the philosophy of knowledge, the experience only。 Therefore, the Chinese Health and video artists do not have the original, derivative video, full brightness, color, and so the whole concept, but the light on the screen is divided into positive light, light fixed, flat light, and so on。 By modern Chinese painters of modern philosophy, modern science and modern aesthetic requirements of the affected, the light on the screen for the treatment has undergone enormous changes, while retaining some of the habits of the Chinese aesthetic, and bold breakthrough in positive light, fixed-plane The shackles of light, creating a new light-color language。 With bright lights, roof light, to replace Kai-positive light。 The so-called positive light, is light images from the front-Shedao on。 Yang is positive, is subject to smooth; back of the Yam, is backlit face。 Positive light from the performance of Taoism。
《老子?四十二章》中说：“道生一，一生二，二生三，三生万物，万物负阴而抱阳，冲气以为和。”“负阴抱阳”(即背面阴正面阳)是中国画光分布的一般法 则。现代中国画家受现代光学、色彩学的影响，认识到以阳光为主的光源是多向的，光可以从正面来，也可以从上面、侧面、背面来，物象的受光面与画家对受光面 的处理，也是多种多样的。在现代中国画中，有很多人使用强光。强烈的光线集中在画面的中部而不一定是正面。它的作用不仅在强调画面光的分布，也在强调某种 意义，因而成为一种新的造型语言。以全景式构图，多空间的重迭组合去表现自然的“

关于博主

文章列表

文章分类

最近发布