| 论笔墨神韵之源 |
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| 引用本文： | 陈郢.论笔墨神韵之源[J].培训与研究,2005,22(1):85-87. |
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| 作者姓名： | 陈郢 |
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| 作者单位： | 湖北教育学院艺术系,武汉430205 |
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| 摘 要： | 传统技法经过一代代承传到今天,面对现代社会赋予人们的崭新的视觉领域,艺术家如何才能将主体意识的新活力注入到传统笔墨中,是中国绘画尤其是山水画所面临的思考。把山水画的境界尽可能放置于宽阔广远的宇宙之中,用笔墨营造“宇宙便是吾心,吾心便是宇宙”的审美空间。
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| 关 键 词： | 笔墨 山水画 中国绘画 传统技法 用笔 艺术家 审美空间 承传 神韵 境界 |
| 文章编号： | 1007-1687(2005)01-0085-03 |
| 修稿时间： | 2004年10月5日 |
On the Source of the Poetic Charm of the Traditional Painting |
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| CHEN Ying.On the Source of the Poetic Charm of the Traditional Painting[J].Training and Research-Journal of Hubei College of Education,2005,22(1):85-87. |
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| Authors: | CHEN Ying |
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| Abstract: | With the traditional techniques spreading through generations up to today and facing the new sense of vision realm that modern society gives to the people, how artists infuse the new vitality of the subject consciousness into the traditional painting, is the facing consideration of the Chinese painting and particularly of the landscape painting. As far as possible the artists should place the state of the landscape painting into the spacious cosmos to construct the state that "the Cosmos is just my heart and my heart, cosmos" with brush and paint. |
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| Keywords: | brush and paint the first one indicates the next poetic charm |
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