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中国画欣赏新译 8

热度 1已有 780 次阅读2012-1-8 21:48 |个人分类:顾绍骅艺术观点与作品|系统分类:科技教育| 中国画, 诗情画意 分享到微信

《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“无限”。画面上的近景、远景均为弱光与暗部。画中的云水由强光表示。画面比较抽象,有巨然《秋山问道图》的意蕴,体现出入居于云水之间对人生、宇宙作形而上的思考与超越。这是美学上的思考与哲学上的思考的互融。此强光虽仍然是哲学的、经验的,但已完全不是道家的“道”,而是融合了相对论、现代哲学与科学的“道”。
Ancient "Taoist" founder - Lao-tzu in the article said: "Health, a life of two, three of Health, tertiary things, things which have negative yin-yang, salt air and that" he said。 "Negative yin-yang hold" (that is, the back Yam-positive) is the distribution of Chinese painting light of the general rule。 By modern Chinese painters of modern optics, the impact of color, to recognize that the sun is more oriented to the light source, light can be positive, but also from above, side, back, the images of the artists on the smooth and smooth The treatment is varied。 In modern Chinese painting, a lot of people use such lights。 Strong light on the central screen and not necessarily positive。 It stressed that the role not only in the light of the screen, also stressed a sense, has become a new modeling language。 A panoramic image, and more space to the portfolio performance of the natural overlap of "unlimited。" The on-screen close-range, low light and dark vision of both the Department。 The painting of cloud water from the glare said。 Comparison of abstract images, a giant Ran "Akiyama asked map" the implication, of living in cloud water access between life and the universe for the metaphysical thinking and beyond。 This is the aesthetic of thought and philosophical thinking of Hu Rong。 Although this is still light philosophy, experience, but has not completely Taoist the "Road", but the convergence of the theory of relativity, modern philosophy and science of "Road。"
用跳动光、飘浮光取代固定光。古典画家按“负阴抱阳”的观念处理光,不考虑不同光源的光色和不同环境的光色对所画物象的影响,也不重视空气和画家视点与物象的距离对物象的影响,在表现正面光的同时,采用固定的垂直光分布。固定光使物象明暗分明、浮雕感强,但光的多样性、动态性与主观性却被隐没了。
Beat with light, replace the fixed-floating light。 Classical artists on "negative yin-yang have" dealt with the concept of light, do not consider different sources of light and color of different colors of light environment by painting images of the impact, and not to air the images and artists from the perspective of the impact of images, In light of the positive performance at the same time, fixed the vertical distribution of light。 Fixed-brightness so that images clear, strong sense of relief, but the light of the diversity, dynamic and subjectivity has been hidden。
现代中国画家受到现代审美动力学和欧洲印象派绘画的影响,开始打破固定光的束缚。程十发的《喂羊》、中国画欣赏新译    8_图1-1  杨延文的《村妞》等作品中的光,中国画欣赏新译    8_图1-2 都是不规则的、跳跃的。《改革之年》的画面上部有几道闪电般的光,从顶部早斜线射向中部。这种跳动的光,使整个画面受到震动,暗示改革势头锐不可挡,似乎讲述着改革之年人们奋发向上的冲劲。这种光不是依附于物象之上的,在独立发挥自身的功能。《村妞》使我们联想到蒙德里安的某些作品,中国画欣赏新译    8_图1-3  但又与它不同。此画是用水墨染成的大都市朦胧夜景。朦胧的夜色中,各种灯光的闪烁、跳动,表现出大都市的喧器、繁荣和彻夜的骚动。画面上的白光、红光、黄光、蓝光以及长光、短光跳跃着,互相映照,把大都市夜生活渲染得淋漓尽致。这种对光的处理,既有民族“基因”,又有现代性,因此它必然能与世界美术接轨。画家们突破了传统固定光的观念,可能得益于现代科学的影响。固定光的基本功能在描绘物象的明暗分布上,主要是客观的。现代中国画中许多飘浮之光,则带有很大的主观性。张民生的《山光》中没有固定的光。强光分散在几个部位互不联系,没有统一的光源与光亮梯度,强光笼罩在某些物象之上。它主要不是说明物象之上真实的光分布,而是体现画家的主观意图——强调新时期山民新的生活。张海东的《红花图》,光分布更显得极不规则,随意飘浮。强光既不遵守透视规则也不囿于光分布的固定要求,有的落在人物的上身,有的落在人物的胳膊或脚上,有的落在飞鸟的头部或背景上。白色的强光与偏冷的红花形成对比,突出表现红花园中奏笛的三女于优雅的神态。飘忽的强光使清晰的画面变得有些朦陇,呈现一种含蓄的诗意美。张广俊的《竹乡初雪》画面:中国画欣赏新译    8_图1-4 一轮皓月照亮一片被茂密竹林遮住,又时隐时现的在小山村上;这里船儿歇了,村庄“睡了”,雪儿在静静地下……;一切是多么的恬静。画家用“顶光”处理:被撒上朦胧月光的山村、小河与大地,竹林时隐时现,画中散落着白雪。这是自然美与心灵美的和谐融合。这种美的现代感很强,又在似与不似之间表现对象,抒发了画家的情思,表现出东方艺术的韵昧。
By modern Chinese painters of modern aesthetic dynamics and the impact of the European Impressionist paintings, began to break the shackles of fixed-kwong. - 10 of the "Hey sheep," Yang Yanwen "Niu Village" and other works in the light, are irregular, the jumping. "Year of reform" You Jidao upper part of the screen lightning light, from the top as early as slash exposure to the Central. This beat the light, the entire screen by the vibration, suggesting that the momentum of reform Ruibukedang seems to be on the reform of the people to make progress in the drive. This light is not dependent on the images above, the independent play to its own function. "Village Niu" We think that some of Mondrian works, but with its different . This painting is stained with ink metropolis hazy night. Obscurity in the darkness, all the lights flashing, beating, showing the city Xuan, prosperity and the riots throughout the night. On the screen of white, red, yellow, blue and long - and short-jumping with each other reflects the city nightlife rendering most vividly. This light treatment, both national "gene", another modern, so it is bound to convergence with the world of art. Artists had to overcome the traditional fixed-concept, might benefit from the impact of modern science. The basic function of fixed-painted in the brightness of images, mainly objective. Many of the modern Chinese paintings floating in the light, with a lot of subjectivity. Of the people's livelihood, "Hill - "There is no fixed in the light. Light scattered in several parts are not linked, there is no uniform gradient of light and bright, bright lights shrouded in some images on. It is not the main note on real images of light distribution, but the subjective intent of the painter - that the new era mountain people a new life. Hai-Dong Zhang's "saffron map", a more even distribution of light is very irregular, free floating. Glare does not comply with the rules of perspective is not limited to a fixed-distribution requirements, and some people fall on the upper body, and some people fall on the arms or feet, and some of the birds landed on his head or background. And the white glare of saffron Pianleng contrast, outstanding performance in the Red Garden played in the 2007's and three women elegant expression. Piaohu the glare of the screen has become clear that some Meng Long, showing a subtle poetry of the United States. Zhang Guangjun "Zhu Xiang First Snow" screen: a Haoyue lit up by a dense bamboo forest cover, and when the time is now hidden a small mountain village; Chuaner hysteria here, the village "to sleep," Cher quietly in the underground……; Everything is very quiet. Painters "top light" treatment : Sprinkle with dim moonlight by the village, river and land, when bamboo is implicit when, paintings scattered in the snow. This is the natural beauty and soul of a harmonious integration of the United States. The contemporary United States such a strong, and in between it and do not like performance targets, to express the artist's Qingsi, showing the Oriental Art Yun Mei.
三、     用点光、变调光取代平面光。我国除了一部分花鸟画外,大部分山水画、工笔人物画的色彩都是平面的。平面色彩之上的光缺少层次、冷暖、明暗变化,因此是平面光。现代中国画家从我国舞台美术、民间美术和西方现代主义绘画中吸取有益的因素,采用点光、色彩变调所呈现的有层次、有变化的光,来突破传统的平面光,并使这种光成为画面灵动活泼的语言。点光,就是把强光分解成许许多多的“点”,使之散落在画面的各个部分、各个角落,使画面的动力性增强,并呈现丰富多彩的光分布。姚卫国的《希望的早晨》,整个画面是偏冷灰调子。在一片暗灰色建筑物中,到处可见白色的亮点,把一所希望小学照亮。大大小小的亮点,似乎汇成了优美的旋律,奏响希望小学新一天的晨曲。闪烁的众多亮点,使画面富有动感,表现出早晨生机勃勃的景象。作者用被大大小小亮点包围的、饱和度不相同的偏灰紫小色块来构成画面,打破了传统重彩画的平面光画法,使画面显现出强烈的节奏感。这种节奏感的高潮在画面的远景——小学生举行升国旗仪式部分,红旗与众多白色亮点互相呼应,让人看到画面上不同形状光点的组合,都是为主题服务的。另外,我们在晁海的《晨曦》、孙玉香的《悠悠岁月》、牛锡珠的《护林人家》等作品中,都看到了作者使用点光来取代平面光,取得了良好的表现效果。     突破平面光的另一个有效方法是采用色彩转调光。色彩转调通常是由某种色相所呈现的冷暖、明暗变化体现的。朱建平的《世纪森林之春》中的群山是微微发红的绿色,森林是蓝绿色。作者用同一色调描绘同一类型的物象(群山与森林)而使不同树木与山峦区别开来,依靠的是色调的冷暖、明暗变化。作者不用线条勾勒,完全突破平面光,使画面的光在同一色调的冷暖、明暗对比中显现出来,使画面既保留了装饰性也显得很美,洋溢着诗情。  
3, with point-kwong, pitch shifter replace the light-plane. In addition to our part of Flowers and Birds Painting, most landscape painting, figure painting Meticulous colors are flat. Light plane on the lack of color levels, and well-being, the brightness changes, it is light plane. Modern Chinese artists from China's stage arts, folk art and modern Western painting and drawing useful, a point-kwong, presented by the color tone sandhi a level, the changes in light, to break through the traditional flat light, and that this light A screen Smart lively language. Point light, the light is broken down into so many "points" so that it scattered in various parts of the screen, every corner, so that the momentum of strengthening the screen and showed colorful light distribution. Yao Weiguo of the "hope that the Morning", the entire screen is Pianleng gray tone. In a dark grey buildings, the bright spot of white seen everywhere, a hope that the primary lit up. The bright lights of all sizes, it seems Huicheng a beautiful melody, played the hope that the new primary school day morning song. Flashes of the many highlights, so that the screen full of dynamism and vitality of the morning show scene. The author used was surrounded by large and small, bright spot, not the same degree of saturation partial gray color purple to a small screen, breaking the traditional Zhongcai Hua-painting the plane, the screen showed a strong sense of rhythm. This sense of rhythm in the climax of the vision of the screen - part of primary school students held flag-raising ceremony, the red flag with white highlights many echo each other, people see different shapes on the screen, a combination of light, are the theme of the service. In addition, we Chaohai in the "Operation Dawn", Sun Yuxiang the "long time", cattle-Chu's "forest people" and other works, the authors have seen the use of point-to replace the light plane made a good performance results . Another breakthrough flat-effective way is to use color-transfer. Color is usually transferred from a certain hue presented by the well-being, reflected in changes in brightness. Zhu Jianping of the "century of forest Spring" in the mountains is slightly redness of the green, the forest is blue and green. The author used the same color images depicting the same type of (mountains and forests) and makes different distinguish between trees and mountains, relying on the well-being is the color, brightness changes. Authors do not have to draw lines, totally breakthrough plane light, so that the screen in the light of the well-being of the same hue, brightness contrast in the show, so that the screen is to retain the decorative looks beautiful, filled with a poetic.










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