| 中外名人艺术 ● 中国山水画和西方风景画的比较 |
| 添加时间：2017/10/11 14:45:38 浏览次数： |
| 山水画在漫长的发展过程中，形成了独特的风格和审美情趣以及一套完整的理论体系。同样，在西方画坛占重要地位的风景画也是如此。这两种表现相同的对象却采用不同的表现手法的艺术形式在世界艺术宝库中占有极其重要的地位。它们分别处在两种不同的文明当中，不管是在东方古老璀璨的历史和文化中，还是在古希腊及罗马的巨大艺术成就中，这两种艺术的审美价值都是人类发展的宝贵遗产。二者之间的异同的比较，有助于两种伟大艺术的交流和发展。不管那一种艺术只有相互交融和吸收才能获得更强的生命力。所以，我们就以东方艺术的一个代表——中国山水画，与西方文化的一个支流同样也是影响巨大的——风景画进行比较，看看中西方艺术之间的差异以及各自所取得的巨大成就。 In the long process of development, landscape painting has formed a unique style and aesthetic appeal, and a complete set of theoretical system. Similarly, so it is occupying the important position in the western painting landscape painting. These two art forms which show the same object and adopt different expressive techniques occupy an extremely important position in the art treasure house of the world. They were in two different cultures, whether in ancient oriental brilliant history and culture in ancient Greece and Rome, or the great artistic achievements, the aesthetic value of these two kinds of art are the precious heritage of human development. The similarities and differences between the two are helpful to the exchange and development of the two great arts. No matter what kind of art, only by mixing and absorbing each other can they get stronger vitality. So, we in a China landscape painting represents the Oriental Art, and a branch of the western culture is also a huge impact -- comparison of landscape painting, look at the differences between Chinese and Western art and each enormous achievements. 当中国艺术家在儒道的影响下，致力于自身与天道的融合，西方的画家则是在人文主义思想的光环中完成自己理想的嬗变。我们要比较二者之间的异同，就需要从他们不同的发展历程入手，从他们所处的不同的地域、不同的人文环境出发去分析。因为艺术的根本区别和差异并不在单纯的技法与材料，它们所赖以发展的思想基础和美学理念才是相互比较的关键。所以，本文理所当然将双方的美学基础和美学思想放在首要位置，尽管叙述深刻需要较好的美学素养及理论修养，尽管作者的理论水平不能让这段美学思想的异同的语言写的有见地，但是这个中西方艺术——甚至是不管那两种艺术——相互比较的首要前提还是应放在重要的地位。当然两者之间的表现形式和表现手法也是比较的一个重点，这是直观明了了解两种艺术区别的最有效的方法。不管那一个民族的艺术，都有本民族特有的表达方式。譬如当亚洲人在用笔渲染他们对自然的理解和热爱时，非洲的土著却在用刀刻划着自己独特的思想与执著的崇拜。所以，本文将具体我们分为以下几个方面进行论述：首先是两个画种几乎相近的起源；其次是发展过程中不同的美学思想和审美情趣；最后我们看看中西方风景画的表现形式和表现手法的异同，以及工具材料上的区别。 When Chinese artists, under the influence of Confucianism and Taoism, devoted themselves to the fusion of the Tao and the Tao, the painters in the West completed their ideal evolution in the aura of humanistic thought. We want to compare the similarities and differences between the two, it is necessary to start from their different development process, from their different geographical and different human environment to start analysis. Because the basic differences and differences of art are not in the simple techniques and materials, the ideological basis and aesthetic ideas they rely on are the key to each other. So, the arts and the will of course aesthetic foundation and aesthetics of both sides in the first place, despite the profound aesthetic accomplishment and narrative theory training needs better, despite the author's theoretical level cannot let this aesthetic thought of the similarities and differences of language to write insightful, but the Western Art -- even regardless of the two kinds of art comparison between the first premise -- or should be put in the important position. Of course, the form of expression and the technique of expression between them are also the focus of comparison. This is the most effective way to understand the two artistic differences intuitively. Regardless of the art of that nation, it has its own unique way of expression. For example, when Asians use pen to paint their understanding and love of nature, African natives are using their knives to describe their own unique ideas and persistent worship. So, in this paper we will specifically divided into the following aspects: the first is the two kind of painting is almost the same origin; followed by different ideas and aesthetic taste in the development process; finally, we look at the similarities and differences between Chinese and Western landscape painting forms and performance techniques, and the difference between the tool materials. 一、起源及发展的比较 First, the comparison of origin and development （一）起源及发展 (I) origin and development 中国山水画的历史，源远流长。独立的山水画正式出现在魏晋南北朝之间。我们可以从东晋画家顾恺之在《论画》中云：“凡画，人最难，次山水，次狗马，……。”看出此时的山水画已经与人物画相提并论，并且已初步从人物画的陪衬中独立出来。据有关文献记载，顾恺之当时就曾画有《雪霁望五老峰图》、《庐山图》、《望五老峰图》等山水画。另外据史料载，当时的夏侯瞻有《吴山图》，戴逵有《吴溪山邑居图》，戴勃有《九州名山图》等山水画问世，可惜都已经失传，所以我们无法具体知道当时山水画的概貌。但从顾恺之的人物画《洛神赋图》卷和《女史箴图》卷（皆后人摹本）中的部分配景山水中可以领略到当时山水画的大致形貌，画山石只勾染而无皴擦，画水多用线，树干与叶子也用勾染法，多为扇叶子的银杏树。由此可见山水仍在部分的充当人物的衬景，以至于“人大于山、水不容泛”等不太协调的景象出现。有的画中甚至以夸张变形的手法处理树石，追求装饰趣味。但是，此时的山水画理论已经基本成熟，“或强调哲理性的显现，或重视抒情的表达”⑵，而且讨论了空间的表现，奠定了中国山水画的理论基础。画论的出现，就证明山水画艺术即将迈上正确发展的轨道。这样一直到了隋唐时期，中国山水画才可以说是已经完全成熟了，并渐渐形成了独立的画种，同时也出现了展子虔、李思训、王维、张璪、等一大批专画山水的大师。这些大师将山水画逐渐推向高峰。展子虔的《游春图》，反映了隋代或初唐青绿山水画的面目，虽然还没有彻底摆脱装饰的味道，但写实能力已经有了极大的提高，很是能抒发作者的情怀，已能将山水画和人物画及花鸟画的抒情性提升到几乎相同的台阶。只是这时候的技法还比较古老、稚拙，没有具体而鲜明的个人风格。但是，不能否认山水画就是从这里开始正式走上了蓬勃发展的道路。在起源上，中西方的风景画是大致相同的，西方风景画最早同样也是作为人物画的背景出现，在以后才逐步发展成为独立的画科。在西方的艺术史里，我们可以看到14世纪前半叶的意大利壁画，如锡耶纳市政厅的《善政图》，和15 The history of Chinese landscape painting has a long history. The independent landscape painting officially appeared between Wei, Jin and Northern and southern dynasties. We can from the Eastern Jin Dynasty painter Gu Kaizhi in "on painting" cloud: "every painting, the most difficult time, the landscape, the dog horse,......." The landscape painting at this time has been compared with the figure painting, and has been independent from the foil of figure painting. According to the relevant literature, Gu was once painted "Ji Wang Wulaofeng map", "Mount Lu", "Wang Wulaofeng" landscape painting etc.. In addition according to the historical data set, then Xiahou Zhan has "Wu Shantu", "Wu Yi Dai Kui has Xishan map", a "debbio map" and other famous Kyushu landscape painting came out, but all have been lost, so we cannot know the specific landscape painting picture. But from Gu figure painting "Lo River map" volume "and the history of women Fazhen map" volume (all descendants copy) part of the landscape in the background can enjoy the general morphology when the landscape painting, painting stone only hook dye without cunca, draw water use line, tree trunks and leaves with hook dye method for fan leaves of the ginkgo tree. This shows that the landscape still acts as a part of the characters, so that the "people's congresses in the mountains, water can not be pan" and other uncoordinated scenes appear. Some paintings even use exaggeration to deal with tree stones and pursue decorative interest. However, the landscape painting theory has matured, "or that the wisdom of the show, or pay attention to the lyrical expression", and discusses the performance of space, laid the theoretical foundation Chinese landscape painting. Painting appears, that landscape painting is stepping onto the right track of development. This has been to the Sui and Tang Dynasties, China landscape painting can be said to be fully mature, and gradually formed an independent painting, there are Li Sixun, Wang Wei, Zhang Zao, Chan tzu-ch'ien, a large number of special landscape master. These masters gradually pushed landscape painting to its peak. The "Chan tzu-ch'ien for map", reflects the Sui Dynasty or Tang landscape painting face, although not completely get rid of the smell of decoration, but the realistic ability has been greatly improved, it is able to express the author's feelings, have been able to landscape painting and figure painting and painting lyricism to almost the same step. Just at this time is still relatively immature, ancient techniques, there is no specific and distinctive personal style. However, it can not be denied that landscape painting started from here and embarked on the road of vigorous development. In origin, the Chinese and Western landscape painting is about the same, the western landscape painting as early as the figure painting background, later in gradually developed into an independent painting. In the history of Western art, we can see the Italy frescoes in the first half of the fourteenth Century, such as the good governance map of Siena city hall, and 15 |
| 上一页 中外名人艺术 ● 中国山水画色彩运用的变迁 |
| 下一页 油画花卉怎么画? |
Copyright © 技术支持：遨游网络