摘要
“远取其势,近取其质”是写意人物画写生过程中观察和表现对象的两个方面。“远取其势”就是作画者要有从整体造型着眼的自觉意识,对审美客体进行远距离整体观照,获得整体性概括印象,“近取其质”则是作画者对审美客体进行近距离的细部观察,深入研究和表现对象,两者都是建立在以对象为依据的基础上,是与写意人物画意象造型特征相适应的。
“Momentum for Dtstant view and Essence forClose-shot” are two aspects of observation and expression in process of freehand figure painting from life. “Momentum for Distant View” is that a painter is conscious of overall shaping, has an overall distant view upon an aesthetic object and gets a global and condensed impression. While “Essence for Close-shot” is that a painter has a close and meticulous observation upon an aesthetic object, studies and expresses it in a deep-going way. They both base on the object and are adaptable to the image and shape characteristics of freehand figure painting.
出处
《福建师范大学学报（哲学社会科学版）》
北大核心
2005年第5期75-78,共4页
Journal of Fujian Normal University:Philosophy and Social Sciences Edition
关键词
写意人物画
写生
以势带质
以质促势
momentum for distant view, essence for Close-shot, Freehand figure painting from life,momentum brings along essence, essence promotes momentum
