首页|从容势到拟象:今体山水与墨法的兴起

从容势到拟象:今体山水与墨法的兴起

扫码查看
在盛唐以前,山水画主要以勾勒填色为主,这种方法到盛唐被完善,即所谓古体山水.同时也出现了以吴道子为代表的强调以书入画的今体山水.皴法即在今体山水中出现,当时称为破墨.到了晚唐,在破墨的基础上又演化出泼墨等技法,形成了"水晕墨章,兴我唐代"现象.这种现象的出现,和唐代的自然论及宗教思想影响有关.
The Discovery of the Aesthetic Appreciation of Ink Painting During the Tang Dynasty
Prior to the prosperous Tang Dynasty,landscape paintings primarily relied on outlining and color filling.This approach reached its pinnacle during the flourishing Tang Dynasty,known as the ancient landscape painting.Concurrently,Wu Daozi epitomized modern landscape painting by emphasizing the integration of calligraphy into his work.The technique"Cun Fa"also known as"Po Mo"at that time,emerged in modern landscape painting.Subsequently,in the late Tang Dynasty,the splashing ink technique further evolved from"Po Mo",giving rise to the phenomenon of"The aesthetic taste of ink painting was not discovered until the Tang Dynasty",The appearance of this phenomenon is related to the influence of natural theory and religious thought in the Tang Dynasty.

modern landscape paintingCun FaMo Fa

韦宾

展开 >

陕西师范大学美术学院

今体山水 皴法 墨法

2024

美术观察
中国艺术研究院

美术观察

北大核心
影响因子:0.107
ISSN:1006-8899
年,卷(期):2024.(9)