| 论中国画的色彩观念 |
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| 引用本文： | 刘钎妤,黄莎.论中国画的色彩观念[J].郧阳师范高等专科学校学报,2010,30(3):73-75. |
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| 作者姓名： | 刘钎妤 黄莎 |
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| 作者单位： | 1. 郧阳师范高等专科学校,艺术系,湖北,丹江口,442700
2. 重庆师范大学,学前教育学院,重庆,400700 |
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| 摘 要： | 中国画的雏形＂汉画＂以＂简淡素朴＂为美的审美原则,具有强烈的本土仙道思想观念.在魏晋南北朝时期,受印度佛教美术的影响,在龟兹古国又形成了一种着色浓烈的西域画风.以汉画＂简淡素朴＂为美的中土画风和以＂浓烈为尚＂的西域画风,其着色都是一种观念之色,一种心象之色.两种画风不断融合而形成着色浓烈的晋唐画风.汉画所展现的笔墨趣味性成为一种带有强烈本土文化倾向的传统,为唐代文人、仕宦画家所继承发展为水墨画.从此千载不移,这种选择与本土哲学文化和社会思潮有着极深的渊源.以黑、白成像的南宗画与本土哲学思想的核心相吻合,与文人的人生观相契合.因此＂色彩观＂即思想观、人生观.
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| 关 键 词： | 中国画 水墨 色彩 色彩观 观念色 心象之色 |
On the Color Concept of Chinese Painting |
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| LIU Qian-yu,HUANG-Sha.On the Color Concept of Chinese Painting[J].Journal of Yunyang Teachers College,2010,30(3):73-75. |
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| Authors: | LIU Qian-yu HUANG-Sha |
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| Institution: | 1. Art Department, Yunyang Teachers＇ College, Danjiangkou 442700. China; 2. School of Pre-school Education, Chongqing Normal University, Chongqing 400700, China) |
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| Abstract: | Han Hua, the embryonic form of Chinese painting, has plain and light beauty as the aesthetical principle, with strong local Taoist thinking. During the Wei and jin Dynasties （220-589）, under the influence of Indian Buddhist art, a strong western painting style formed in Qiuzi Kingdom. The colors of Chinese and western painting styles are coneeptual color and mental image color. The integration of the two formed Jin and Tang painting style of strong color. Chinese painting has had a strong localized tradition, and then developed into wash painting, which is closely connected with local philosophy and social thinking. South School Painting with black and white images is conforming to the core of local philosophy and the outlook on life. So color conception is thought view and outlook on life. |
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| Keywords: | Chinese painting color color concept conceptual color mental image color |
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