山水画临摹中的“意临”探究
发布时间：2018-08-27 09:50
【摘要】：本文主要阐述“意临”是中国山水画从临摹到写生的过渡阶段,提倡“意临”是为创作服务,反对僵硬的临摹。临摹一直以来都是我们在中国山水画学习中的一个主要过程。临摹的学习过程中,我们可以学习古人笔墨技法、构图造型、设色以及韵味等许多经验和方法,但是如果注意的只是这些,那就算是临摹的分毫不差相当严谨,而不融入个人经验和感情色彩,甚至对原作者的构思和想法都不了解,而只是注重各种技法和程式化的应用,这样画出的绘画作品虽然看起来很完整,但是却少了最能打动人的精神和气韵。在我国中国画坛上许多画家都是从临摹开始的,例如：黄秋园、张大千等,他们都是从临摹开始打基础,然后创造出了自己的绘画风格。创作才是中国山水画临摹的最终目标。临摹是训练我们拥有成熟的笔墨技法,来为创作做基础准备,而“意临”是临摹到创作的转换过程,它是一种潜在的创作,而不是一种简单的模仿。以“我”入画,本乎“我”意,主体精神的掌控,才是我们“意临”的中心需要,中国山水画的创作才不至于公式化。从自身主体的精神和情感上全面的把握临摹,才是中国山水画学习的捷径。 中国山水画的“意临”是一门需要用心钻研的学问。山水画的“意临”既需要临摹者深入地掌握传统的笔墨技法精华,同时又需要在意临的时候求新求变,需要逐步摆脱掉传统对绘画作品的束缚,从而使自己的绘画作品拥有新的生机。这也是中国山水画“意临”的难处和妙处。
[Abstract]:This paper mainly expounds that "Italy Lin" is the transitional stage of Chinese landscape painting from copying to sketching, and advocates that "Italy Pro" serves for creation and opposes rigid copying. Copying has always been a major process in our study of Chinese landscape painting. In the learning process of copying, we can learn many experiences and methods, such as ancient ink techniques, composition, color and charm, etc. But if this is all we pay attention to, then the division of copying is quite precise. Instead of incorporating personal experience and emotional color, not even understanding the original author's ideas and ideas, but only focusing on various techniques and stylized applications, the paintings drawn in this way may appear to be complete. But without the most touching spirit and charm. In China, many painters started from copying, for example: Huang Qiuyuan, Zhang Daqian, etc., they all started from copying, and then created their own painting style. Creation is the ultimate goal of Chinese landscape painting copying. Copying is to train us to have mature pen and ink techniques to prepare the foundation for creation, while "Italy Pro" is a process of conversion from copy to creation, which is a potential creation, not a simple imitation. It is the control of the subject spirit and the original meaning of "I" that is the central need of our "Italy", so that the creation of Chinese landscape painting will not be formulaic. It is the shortest way to study Chinese landscape painting to grasp copying in spirit and emotion. The idea of Chinese landscape painting is a study that needs to be studied carefully. The "Yi Pro" of landscape painting not only requires the copyist to master the essence of traditional brush-ink techniques deeply, but also needs to pay attention to the new and changing times, and need to get rid of the shackles of traditional painting works step by step. So that their paintings have a new vitality. This is also the difficulty and beauty of Chinese landscape painting.
【学位授予单位】：东北师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J212
本文编号：2206910
[Abstract]:This paper mainly expounds that "Italy Lin" is the transitional stage of Chinese landscape painting from copying to sketching, and advocates that "Italy Pro" serves for creation and opposes rigid copying. Copying has always been a major process in our study of Chinese landscape painting. In the learning process of copying, we can learn many experiences and methods, such as ancient ink techniques, composition, color and charm, etc. But if this is all we pay attention to, then the division of copying is quite precise. Instead of incorporating personal experience and emotional color, not even understanding the original author's ideas and ideas, but only focusing on various techniques and stylized applications, the paintings drawn in this way may appear to be complete. But without the most touching spirit and charm. In China, many painters started from copying, for example: Huang Qiuyuan, Zhang Daqian, etc., they all started from copying, and then created their own painting style. Creation is the ultimate goal of Chinese landscape painting copying. Copying is to train us to have mature pen and ink techniques to prepare the foundation for creation, while "Italy Pro" is a process of conversion from copy to creation, which is a potential creation, not a simple imitation. It is the control of the subject spirit and the original meaning of "I" that is the central need of our "Italy", so that the creation of Chinese landscape painting will not be formulaic. It is the shortest way to study Chinese landscape painting to grasp copying in spirit and emotion. The idea of Chinese landscape painting is a study that needs to be studied carefully. The "Yi Pro" of landscape painting not only requires the copyist to master the essence of traditional brush-ink techniques deeply, but also needs to pay attention to the new and changing times, and need to get rid of the shackles of traditional painting works step by step. So that their paintings have a new vitality. This is also the difficulty and beauty of Chinese landscape painting.
【学位授予单位】：东北师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J212
【参考文献】
相关期刊论文 前2条
1 秦仲文;国画创作问题的商讨[J];美术;1955年03期
2 赵丽娜;;在临摹中体会古人山水画意境和笔墨[J];艺术研究;2007年01期
，本文编号：2206910
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