| 中外名人艺术 ● 中国山水画色彩运用的变迁 |
| 添加时间：2017/10/19 16:54:44 浏览次数： |
| 老子曰：“五色令人目盲，五音令人耳聋。” Lao Tzu said: "colors blind, pentameter deafness." 庄子曰：“五色乱目。” Chuang-tzu said, "five colors disorderly order"." 张彦远曰：“草木敷荣，不以丹碌之采；云雪飘扬，不待铅粉之白；山不待空青而翠，凤不待五色而綷， 是运连墨而五色具，谓之得意，意在五色，则物象乖矣！” Zhang Yanyuan said: "do not apply to Dan Rong vegetation, the busy mining; cloud and snow flying, to lead the white mountain; not to be empty and green Cui, Feng not to notice is delivered and colored, even ink and colored with, is proud, is intended to be colored, good image!" 沈宗骞曰：“既以笔取形，自当以墨取色，故画之色，非丹铅青降之谓，乃在浓淡明晦之间能得其道！” Shen Zongqian said: "not only to take shape as the pen, ink color, the color paintings, non danqian green drop that it can get its way in the shades between the hui!" 历代以来，中国古文人信奉玄学,元代以降,一批不得志而消极处世、贫困潦倒或愤世嫉俗的文人们，崇尚“逸笔草草，写胸中逸气耳”、“水墨最为上”、“墨分五色”等灰色心理情绪，在主观意识上厌烦、忽略五彩缤纷的自然之色，积重难返，因此，在观念上贬低、忽视、排斥自然色彩的美学功能，掩盖了自然色彩的光辉。当今有一些所谓艺术家的伪文人们，虽一边享受着现代文明物质生活，却一边仍模仿潦倒古文人而作无病呻吟。 Since in the past, China ancient people believe in metaphysics, the Yuan Dynasty, a group of frustrated and negative and poor or the people advocating "detest the world and its ways, leisurely pen, write in gas ears", "most ink", "five color ink" gray mood, in the subjective consciousness. Ignore the natural color, a riot of colours, therefore, become, the aesthetic function in the concept of demeaning, neglect, rejection of natural color, natural color light mask. Today there are some so-called pseudo literati artists, although enjoying the modern civilization of material life, but while still imitating ancient people and making a fuss out. 中外名人艺术●推荐艺术家《何仁诰作品》 Chinese and foreign celebrity art recommended artist He Rengao's works 中国山水画独立成科时，最早仅存于世的是隋朝展子虔的《游春图》，就是一幅用石青、石绿、赭石等色彩绘制的绢本兼工带写的山水画，此画先用淡墨勾山川树石结构,然后填染石青石绿而成,现代人以“大青绿山水”画命称.继而是唐代李思训的《江帆楼阁图》；唐代王维的《辋川图》；以直北宋王希孟的 《千里江山图》； 赵孟頫的《秋郊饮马图》等；而王希孟把石青石绿已用到非常完美,把青绿山水推向极致，王希孟应算中国山水色彩完善的奠基鼻祖。 Independent family Chinese landscape painting, the earliest surviving in the world is the "Sui Chan tzu-ch'ien for map", is a drawing by azurite, malachite green, ocher color silk and work with writing the landscape painting, painting with light hook mountains and trees and stone structure, then fill with a modern Malachite azurite. As the "big green landscape painting" life said. Then Li Sixun of the Tang Dynasty "Jiang Fan Pavilion map"; the Tang Dynasty Wang Wei's "Wang Chuan map"; to direct the Northern Song Dynasty Wang Ximeng "Trinidad jiangshantu"; Zhao Mengtiao's "autumn map" and other rural horses; and Wang Ximeng has been used very perfect azurite malachite green, the green landscape to the extreme, Wang Ximeng should be considered the originator of landscape color foundation Chinese perfect. 元代因当时汉民族不满异族人统制，以“元四家”为代表的虽崇尚玩弄水墨，但还是有一小部分摹古青绿的画家， 像赵雍的《狩猎人物图》小青绿、而“元四家”之首王蒙也有像《葛稚川移居图》以赭石染山石珠砂染树的所谓浅降山水等作品。 Because of dissatisfaction with the Yuan Dynasty at the time of the Han ethnic groups who controlled, with "four yuan" as the representative although advocating with ink, but there are still a small part of the green style painter, like Zhao Yong's "hunting character map" green, "Xiaoqing yuan four" for the first time Wang Meng also like "Ge Chih - Chuan moving map" the ochre stained rocks bead sand dyed tree called shallow drop landscape works. 中外名人艺术●推荐艺术家《何仁诰作品》 Chinese and foreign celebrity art recommended artist He Rengao's works 明代有王履的《华山图册》、沈周的《雪际停舟图》、唐寅的《事茗图》等大多小心翼翼施以小青绿；文征明是用色高手，如他的《浒溪草堂图》、《兰亭修禊图》、《桃源问津图》、《万壑争流图》、《患山茶会图》等，以直扇面小品全都以小青绿赭石染山石植被，色墨互不碍，相当精到；仇英的《桃村草堂图》、《桃源仙境图》及《清明上河图》等在用色上也丝毫不逊色文征明；作为那个崇尚“水墨最为上”的时代，都不乏为有胆识的画家。许俊的《钟馗嫁妹图》整个暖色调，珠砂珠嘌染旗幡衣着，赭石染山石坡岭，把整个热烈气氛表现得淋漓尽致；董其昌是南宗山水的一代宗师，但却对山水的色彩进行不少尝试，如《秋兴八景图册》、《葑泾访古图》等，但特具色彩代表作应是《昼锦堂图》，此图设色厚重却不碍墨色，层次井然，在大、小青绿之间，今天看来仍具现代感,倘属前卫新奇。明晚期的蓝瑛以色彩名直呼画题为《白云红树图》但基本以石绿染山石、珠砂染树叶、赭石染山脚，白粉填染云，墨色一少就显粉气。陈老莲以花鸟人物见长，山水《杂画图册之一》以赭石、浅降为主，淡花青泼没骨远山。 The Ming Dynasty Wang's "Atlas of Huashan", Shen Zhou's "snow when the boat stopped, Tang Yin's" map "map" and other things most carefully to the tea green green; Wen Zhengming is the master of the use of color, such as his "Hu Xi map", "Lanting Pavilion cottage xiuxi map", "Taoyuan map", "wind" the current competition, "map" map "will suffer from Camellia, straight to fan all small green pieces of ochre stained rocks vegetation, color ink do not matter, quite precise; Qiu Ying's" Peach Village cottage, "Taoyuan fairyland map" map "and" painting "in the use of color is not inferior color Wen Zhengming; as the advocate of" ink is the most "era, there is no lack of courage for the painter. Xu Jun's "Chinese Ghostbuster map" the warm colors, pearl beads. Flag dyed sand dress, ochre stained rocks Mapoling, the warm atmosphere behaved most incisive; Dong Qichang is a master of China landscape, but the landscape color many attempts, such as "book", "transitional figure eight Fengjing ancient map", but the special representative color should be "Zhoujintang map", this figure does not prevent the ink color thick, orderly hierarchy, between large and small green, today it seems still a modern, avant-garde novel if. The blue color in late Ming Ying call entitled "a map", but the basic white mangrove green stained rocks, pearl sand dyed leaves, ochre dye at the foot of the mountain, white dye cloud, a less explicit ink powder and gas. Chenlaolian due to bird figures, landscape drawing copies of "miscellaneous" to ochre, shallow drop, light cyanine pour Mogu toyama. 中外名人艺术●推荐艺术家《何仁诰作品》 Chinese and foreign celebrity art recommended artist He Rengao's works 清代以降，“四王”、“四僧”以及“扬州八怪”等，对山水色彩多为浅降,青绿为少。仅有高岑的《青绿山水图》，蓝孟的《仿古山水册之一》等；而袁江的《观潮图》、《骊山避暑图》、《海上三山图》；袁耀的《蓬莱仙境图》、《邗江胜境图》等界画山水，就清代山水画家运用色彩而言应算是鳞角凤毛了。 The Qing Dynasty, "and", "four monks" and the "Eight Wonders of Yangzhou", on the landscape color is shallow, green for less. Only high Cen "green landscape map", "blue Meng antique landscape of"; and Yuan Jiang's "tide map", "Mount Li", "summer Sanshan sea map" Yuan Yao; "Penglai map", "Wonderland" circles in Hanjiang scenic spot landscape painting, landscape painter in Qing Dynasty. Used for color should be regarded as the small angle scale. 纵观历代山水用色，大多都以绢本施以石青石绿、花青赭石珠砂之类，大多都以展子虔，大小李将军及王希孟的《千里江山图》色彩为范例而陈陈相因，难出窠臼。也是元代以来文人哲学思想及政治因素缚束了眼目及手脚所致。 In the history of landscape color, mostly with silk with stone, bluestone green pearl sand like cyanine ochre, mostly with Chan tzu-ch'ien and Wang Ximeng Lee, the size of the Trinidad jiangshantu "color as the example to follow an old routine.". Since the Yuan Dynasty, the philosophical thought and political factors of literati have been tied up with eyes and hands and feet. 历史以来,颜色本是中国最早运用于山水中的，而直元代以后一直成为禁区，在国画山水运用颜色有建树者则寥若星辰，很多从事山水画创作的大师们都望而却步，不敢越雷池一步。弄不好就会背个“俗”或“野狐禅”、“不正宗”、“不纯粹”的骂名。谁都不愿当第一个敢吃螃蟹的人，谁都不想当传统的“叛逆者”！(待续) This is the color of history, Chinese was first used in the landscape, and straight after the Yuan Dynasty has been restricted in the use of color landscape painting achievements is the combination of the stars, many in the landscape painting masters are discouraged, dare not go one step beyond. The fix will carry a "vulgar" or "Wildfox Zen" and "authentic" and "pure" infamy. No one wants to be the first one to eat crabs, and nobody wants to be a traditional rebel"! (Continued) |
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