摘要
中国画发展至唐 ,发生了一次色彩革命———以水墨成象。从此 ,千年来持守不移。这种选择与守持 ,与本土哲学、文化及社会思潮有很深的关系 ;同时 ,用一种最简化的色彩去表现复杂的情思 ,在世界画史上 ,也是独树一帜的。此种选择与守持的深层原因 ,不仅在于通过视觉观获得进行绘画艺术的“色彩”。中国画学、中国乐学、中国书学 ,乃至戏曲 ,在研究上过于拘执“专业”本身 ,将难以解决本土艺术的成因。以黑白成象的南宗画 ,最切合本土哲学思想的核心、最切合文人的人生观念。因之 ,色彩选择 ,即“思想的选择”。
Up to the Tang Dynasty, there was a color revolution in the development of traditional Chinese painting. That was the formation of an image with ink and wash. From then on, this kept on going for the past one thousand years. The selection and insistence were deeply connected with the native philosophy, culture and trend of thought. At the same time it was of originality to show complicated sensibilities with the simplest colors. Deep-seated reasons of the selection and insistence were not only why we get the artistic colors of painting from the sense of vision. If we overemphasize the “profession' of the studies of the traditional Chinese painting, Chinese music and Chinese operas, we cannot solve the cause of native arts. The black-white paintings in the South Song Dynasty were suitable to the core of native philosophy and to the philosophy of the literators. Therefore the selection of the colors is the selection of ideology.
出处
《贵州大学学报（艺术版）》
2002年第3期24-30,共7页
Journal of Guizhou University Art Edition
关键词
文人
文化
文人画
色彩
黑白
literators
culture
literati painting
colors
black-white
