随类赋彩新解

发布时间：2018-05-11 00:05

本文选题：随类赋彩 + 主色调　；参考：《中国艺术研究院》2013年博士论文

【摘要】：中国语言文化具有意象性特点，遣词用句习惯上趋于主观化。因此对于中国传统绘画理论“谢赫六法”中“随类赋彩”的解读，延续至今日仍存在着许多不同的阐释。这些结沦会因为研究者自身价值趋向的不同而生差异，同时，也可能会因为解读的角度不同依据不同，从而逐渐脱离开“随类赋彩”的原意。而由随类赋彩所衍生出的新观点亦各有所衷。其中很多观点有其合理性，但都由十缺乏清晰而科学的分析与阐述而趋于模糊，达不到应有的学术高度，都需要再进一步商榷。纵观绘画史，由于绘画理论对于绘画形而上的方面的充分展开与过多重视，今人在对随类赋彩作出解读时，总是忽略传统理论中对技艺的同等强调。传统绘画理论中对于绘画色彩主观性的强调，使得对画面的分析与品评都带有过多的形而上精神色彩。实际上，随类赋彩的随类有二，一个是精神的、形而上的“类”，这个“类”在传统中国绘画理论中得到了允分的重视与深入的讨论，表现为对色彩主观性的强调。但是类的第二个方面,即“类”形而下、形式与技法的内涵方而却往往被忽略。二者实际上缺一不可。只谈技法，或者只谈意识,都是有所缺失的。在技法方面，对于随类赋彩的解读最终可以落实到一个最简单最朴素的解释——主色调，也就是根据画面的主色调去赋子色彩。因而笔者将试着就“类”相对形而卜技法与形式的方面展开更多的沦述，尝试以色彩理论中的主色调为角度，重新将精神与技法两方面的内涵重新合一，，对类字的本义作出更全面和深入的探讨。同样，将“类”的定义回归到画面自身，回归艺术本体，将绘幽主体木身为创作与衡量创作的标准与依据，才能真正将艺术归还给艺术本身。因此“类”的内涵也必然与画面本身产生不可分割的的联系。这才能立足于切实的作品本身，再结合画家精神格调的表达来进行创作和品评。在当今这个趋于个球化的世界,各民族各文化趋于融合，中国画也随之向多元发展。色彩作为绘画语言的重要组成部分，对作品的格调有着举足轻重的作用。因此本文以实践者的角度，对中国画色彩语言进行研究,进而对中国传统绘画理论“谢赫六法”中的“随类赋彩进行分析，捉出“类”为“主色调”这一主要观点。并将以此为切入点对中国绘画色彩理论进行深入的分析解读，对当下中国画在色彩方面的发展进行分析。本文对于随类赋彩的探讨并不仅仅局限于还原随类赋彩的本义，也不仅仅局限于对随类赋彩所衍生出的既存观点的探究，而是希望通过对随类赋彩本义的深入研究．展开对中国绘画彩理论的探讨，通过对绘画色彩理论的延展对绘画实践产生一定的启示作用。在此基础上对所推异出来的中国画色彩理论的学术性进行系统的发展与论定。个文分为三草，第一章将浅沦中国传统绘画规律及品评示准，并从头梳理随类赋彩在历史中概念含义的流变，对“随类赋彩”进行逐字的辨析，由此分析随类赋彩中所蕴含的的中国传统色彩理论，并将分析与“随类赋彩”相关的传统美术理论以及随类赋彩衍生的概念，在还原历史情境这一前提下对随类赋彩进行深入的解读。第二章是本文重点论述的章节。在中国传统绘画中，“类”字包含着形而上与形而下两方面的内容，是精神与技法的统一。但是历史上的画论却多偏重于对“类”字精神内涵的强调，而忽略了技法层面的重要性。在这一基础土，笔者将在中国语言文化背景下，结合色彩学理论，对随类赋彩的“类”字做出新的解读：将“类”字所包含的技法内涵与精神内涵统一起来，把“类”字定义为画面的主色调，重新引起人们对于“类”字技法内涵的重视。进而笔者将从色彩理论的角度，来对中国色彩特点进行分析，将随类赋彩的本义还原至中国色彩历史中来进行分析，从而在学理以及史实中对画而的主色调这关键点进行解析。而随着对画面主色调的分析与探究，对当卜中国画色彩理论的探索无疑也将是一个重要的方面。此章还将对中国传统色彩特点进行综合探究，对传统色彩理论存在的问题，以及现代中国画色彩的兼容性，对外来文化接纳借鉴等问题进行分析。当今中国画色彩理论深受外来文化影响，其绘画实践也凸显着这一重要特点。文章的第三章，则足笔者从实践角度出发，从另一个新的角度审视色彩的内在品格即色彩的“黑自灰”。在实践上对随类赋彩的本义做出论证。将对中国画色彩实践有着重要的价值。于此角度重新审视作品的色彩结构，作品将更具美感，更具艺术感。另外从色彩构图、虚实构图的个新概念上完善传统构图观念。也可为中国画设色提出一些实践中的建设性意见。
[Abstract]:Chinese language and culture have the characteristics of imagism, and they tend to be subjective. Therefore, there are still many different explanations for the interpretation of "Sheikh six methods" in Chinese traditional painting theory. Because the angle of interpretation is different, it will gradually take off the original meaning of "take the color with the class", and the new ideas derived from the class color are also different. Many of them are reasonable, but all of them are fuzzy by ten lack of clear and scientific analysis and exposition. One step is open to discussion.
In the history of painting, because of the full expansion and excessive attention of the painting theory to the metaphysical aspects of painting, the present man always ignores the equal emphasis on the skill in the traditional theory when interpreting the colors with the class. The emphasis on the subjectivity of the painting color in the traditional painting theory makes the analysis and evaluation of the picture with too many shapes. In fact, there are two kinds of colors that follow the class, one is the spirit, the metaphysical "class", and this kind of "class" gets the attention and deep discussion in the traditional Chinese painting theory, which shows the emphasis on the subjectivity of color. But the second aspects of the class, namely, the form and the connotation of the form and technique, are the connotations of the class. The two, in fact, can not be neglected. Only the technique, or the consciousness, are all missing. In the field of skill, the interpretation of the color of the class can finally be carried out to a simplest and simplest explanation - the main hue, which is based on the color of the main color of the picture. In the aspect of relative shape and divination and form, we try to recombine the two aspects of spirit and technique in color theory, recombine the connotation of spirit and technique, make a more comprehensive and deep discussion on the meaning of the type, and return the definition of "class" to the picture itself, return to the art noumenon, and draw the ghost. As the standard and basis of creation and measurement, the body of the body can truly return the art to the art itself. Therefore, the connotation of the "class" is bound to have an inseparable connection with the picture itself. This can be based on the practical works itself, and then combine the expression of the painter's spiritual style to create and evaluate it.
In today's world that tends to be a spheroidization, the cultures of all ethnic groups tend to merge, and the Chinese painting also develops to a plurality. As an important part of the painting language, color plays an important role in the style of the works. Therefore, this paper studies the color color language of Chinese painting, and then to the traditional Chinese painting theory. On the analysis of "the six laws of Sheikh", the main viewpoint of "class" as the main color of "main color" is taken as the breakthrough point, and the analysis of the color theory of Chinese painting in the present time is analyzed.
This paper is not limited to the original meaning of color assignment, but not only to explore the existing viewpoint derived from the class color, but to explore the theory of Chinese painting color through the in-depth study of the original meaning of the class color, and to draw the painting color theory to the painting by extending the painting color theory to the painting. Practice has certain enlightenment effect. On this basis, the academic nature of the color theory of Chinese painting is systematically developed and discussed.
The first chapter is divided into three grass. The first chapter will shallowly reduce the law and evaluation of Chinese traditional painting, and comb the evolution of the conceptual meaning of the class color in history. The second chapter is the key chapter of this article. In Chinese traditional painting, "class" contains the contents of metaphysics and shape in the lower two aspects, the unity of refined God and technique, but the history of painting theory More emphasis is placed on the emphasis on the spiritual connotation of the "class" character, but neglecting the importance of the technical level. Under the background of the Chinese language and culture, the author will combine the theory of color science to make a new interpretation of the type of "class" with the category of color. The character of the word is defined as the main color of the picture, which arouses people's attention to the connotation of the "class" technique, and then the author will analyze the characteristics of Chinese color from the point of view of color theory, and analyze it with the original meaning of the class assignment to the history of Chinese color, thus the key point of the main hue of the painting in the academic and historical facts. With the analysis and exploration of the main color of the picture, the exploration of the color theory of the Chinese painting will undoubtedly be an important aspect. This chapter will also make a comprehensive exploration of the traditional Chinese color characteristics, the existing problems of the traditional color theory, the compatibility of the color of modern Chinese painting, and the acceptance of the foreign culture. In the third chapter of the article, the author examines the inner character of color from another new point of view, the "black self grey" in color. In practice, the author makes a comment on the meaning of the color. It will be of great value to the color practice of Chinese painting. To reexamine the color structure of the works from this angle, the works will be more aesthetic and more artistic. In addition, the concept of traditional composition will be perfected from the new concept of color composition and virtual composition, and some practical constructive suggestions for Chinese painting can also be put forward.

【学位授予单位】：中国艺术研究院
【学位级别】：博士
【学位授予年份】：2013
【分类号】：J212

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