山水画学习阶段简论

发布时间：2019-03-09 09:04

【摘要】：临摹的意义在于观察借鉴画面中的大结构、大形态,黑、白、灰关系与走势(山川龙脉以及布局结构等),以及由具体物像抽象成的线条、块面、几何形态与它们之间的组合、穿插、错让关系。对于传统绘画中“一棵树,一个房屋等”的具体物像忽略不计,而着眼于大局,着眼于整体气息,并结合个人体会加以阐述说明。中国画山水写生其本质意义是要抓住大的结构,取其大的形态,势,把握大的关系与比例。写生可以进行“移花接木”,以组合、重构出更加合理的画面。山水画创作可理解为一个“陌生”的过程,因为它的随机性比较大,常常处在似与不似之间,因此在创作中就会遇到不知如何下手的问题。应该借用古人布局构图和虚实表现的方法,对山石结构等进行转换和通变,并进一步对对技法、笔墨、色彩、光感、视觉冲击等方面进行创新。
[Abstract]:The meaning of copying is to observe and draw lessons from the large structures, large shapes, black, white, gray relationships and trends in the picture (mountains, rivers, veins and layout structures, etc.), and the combination of lines, block surfaces, geometric forms and their relationships, which are abstracted from concrete objects and images. Interspersed, wrongly conceded the relationship. To the traditional painting "one tree, one house, etc." the concrete objects ignore, but focus on the overall situation, focus on the overall atmosphere, and combined with personal experience to explain. The essential meaning of landscape painting in Chinese painting is to grasp the big structure, take its big shape, power and grasp the big relation and proportion. Sketches can be "transferred flowers and wood" to combine to reconstruct a more reasonable picture. Landscape painting creation can be understood as a "strange" process, because its randomness is relatively large, often between similar and non-similar, so in the creation will encounter the problem of how to do it. It is necessary to use the methods of layout composition and virtual-real expression of the ancients to transform and change the structure of mountain and stone, and to further innovate the techniques, ink and ink, color, light sense, visual impact, and so on.
【学位授予单位】：陕西师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J212

【共引文献】