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“书画同源”理论的发展以及其现实意义
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作者 张革 《书画世界》 2024年第6期31-32,共2页
在中国的传统美学中,书法和中国画总是被放在一起进行谈论,两者在美学上很难分割开来,“书画同源”就是其中重要的美学理论之一。虽然书法和中国画是不同的视觉艺术形式,各自也都有独特的审美艺术特征,但双方在共同的历史发展下又形成... 在中国的传统美学中,书法和中国画总是被放在一起进行谈论,两者在美学上很难分割开来,“书画同源”就是其中重要的美学理论之一。虽然书法和中国画是不同的视觉艺术形式,各自也都有独特的审美艺术特征,但双方在共同的历史发展下又形成了共性的审美理想,两种艺术同质而异体,双方相互影响、交相辉映,共同构成了中国的书画视觉艺术。本文以“书画同源”的理论发展为切入点深入剖析,阐述了书与画的源流,以及“书画同源”理论对中国文人画发展的现实意义。 展开更多
关键词 书画同源 文人画 书画审美
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试论明清时代书画艺术的审美嬗变 被引量:1
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作者 马祥和 《美术大观》 2011年第8期44-45,共2页
"态"是介于"意"和"法"之间的一种状态,具有"中"的性质。退则"韵",进则"法",也具有韵,也具有法,然前后均不足当为"态";"质",主要是指用笔的凝练、厚... "态"是介于"意"和"法"之间的一种状态,具有"中"的性质。退则"韵",进则"法",也具有韵,也具有法,然前后均不足当为"态";"质",主要是指用笔的凝练、厚重、刚劲以及画面所呈现的朴茂浑厚为主要气息的风格。清人尚"质"主要体现在书法碑学上,绘画上的尚"质"主要体现在受碑学思想洗礼的画家身上。 展开更多
关键词 书画审美 态势 尚质 共性
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Study on Chinese painting freehand brushwork
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作者 Rong Zhuang 《International English Education Research》 2014年第9期17-20,共4页
In art of the canvas, the brush stroke in Chinese painting and calligraphy is one of the important behavior means of the canvas, have independent aesthetic value at the same time, contemporary, one that is with plural... In art of the canvas, the brush stroke in Chinese painting and calligraphy is one of the important behavior means of the canvas, have independent aesthetic value at the same time, contemporary, one that is with pluralism, varied painting idea and painting skill and technique of art is great and abundant, traditional in the canvas works " The brush stroke in Chinese painting and calligraphy " Already not merely can be spoken to the limit by the simple scribbling and wiping of pen, and Chinese comfortable brush stroke in Chinese painting and calligraphy, technique of writing incorporate visual language and spiritual intension created that can enrich the picture greatly in the canvas is created. This text attempts to canvass the canvas and create the feasibility that incorporated into comfortable brush stroke in Chinese painting and calligraphy and expansionary from two respect factors of cultural idea and skill and technique and tool material. 展开更多
关键词 Chinese canvas FREEHAND BRUSHWORK
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