肖霞. 试论张大千泼墨泼彩山水画中色光的表现[J]. 内江师范学院学报, 2012, (9): 18-20.
    引用本文: 肖霞. 试论张大千泼墨泼彩山水画中色光的表现[J]. 内江师范学院学报, 2012, (9): 18-20.
    XIAO Xia. On Color and Light Expression in ZHANG Da qian’s Splashed Ink and Color Landscape Paintings[J]. Journal of Neijiang Normal University, 2012, (9): 18-20.
    Citation: XIAO Xia. On Color and Light Expression in ZHANG Da qian’s Splashed Ink and Color Landscape Paintings[J]. Journal of Neijiang Normal University, 2012, (9): 18-20.

    试论张大千泼墨泼彩山水画中色光的表现

    On Color and Light Expression in ZHANG Da qian’s Splashed Ink and Color Landscape Paintings

    • 摘要: 张大千的泼墨泼彩山水画将传统色墨与自然色光紧密结合,突破了千百年来文人画的用色模式,极大的张扬了中国画色彩魅力,这是张大千融合中国传统绘画色彩与西方现代艺术之后整体色光观念下的独特用色方式。水、色、墨是色彩的主体,色与墨的浓淡、轻重、虚实变化是色光在物体上所形成的明暗、黑白灰关系的说明。这种通过主观感觉筛选之后综合交织出来的总体印象符号化的色彩、色光观,是泼墨泼彩山水画超越现实又存在于现实、不似而似的具有极强审美内涵的高级表达方式。

       

      Abstract: ZHANG Da qian’s splashed ink and color paintings have combined the traditional color and ink with national light, and have broken through the color using modes which have been adopted by painters for thousand years, which has greatly increased the charm of colors of Chinese paintings. This is unique color employment of which ZHANG combined colors of traditional Chinese paintings with modern Western arts. Water, color and ink are the main parts of coloration. The change of color and ink, dense or thin, empty or full, is the expression of light’s brightness or darkness, white or black, on objects. Such comprehensive symbolized color feeling through subjective choice is the advanced expression of splashed color and ink landscape paintings with strong aesthetic connotation which surpasses the reality but only exists in reality.

       

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