澄光幻影──光影在当代中国山水画中的表现形式.pdfVIP

中国美术学院—国画系—山水专业—叶望望—澄光幻影——光影在当代中国山水画中的表现形式 Abstract Why we can see things? How can we see things? How we represent what we see things? In Western paintings theory, light and shadow are the principal problem of painting. Their unremitting research and exploration to linear perspective and solid law and form of theoretical system. And in different age, light and shadow are the role of the painting is not in meaning. In ancient China, though light and shadow have to study. Is not from principle to analyze them, but for an observation that the phenomenon of the experience. That light and shadow in traditional Chinese painting theory does not form a clear concept. This through for both Chinese and Western light and shadow theory research, and I in nature and creation of light and shadow of the experience of and feelings to explore the expression form of light and shadow in Chinese landscape. Show the light and shadow’s role in baffled language, composition and atmosphere of Chinese landscape. And reiterated the light and shadow are the importance of the painting. Exploring the light and shadow of the form of the new possibility now which age information developed, more precise and scientific research and more extensive changes. Keywords: light and shadow yin-yang image tian-ren-he-yi 3 中国美术学院—国画系—山水专业—叶望望—澄光幻影——光影在当代中国山水画中的表现形式 引言 光影是我们视觉经验的基本要素，也是物质世界反映到我们眼睛的最基本 元素。 光影作为绘画理论，更多人熟悉的是西方绘画中的线性透视法和明暗法。 中国山水画家对光影的认识大部分认为是来自西方绘画光影理论，在中国山水画 中很少提及光影的概念。光影作为自然客观对象，也可以作为我们描绘的对象， 并为画面视觉效果服务。 普林尼在《自然史》中认为绘画起源于人们描绘自己影子的轮廓。虽然这 一理论有所偏颇，但西方绘画中的两大表现手法——线性透视法与明暗法都是以 光学为基础，结合其他科学研究得出的。甚至在印象派时期，直接把光影作为绘 画的主体。 而中国古代光影理论的研究却走了一条与西方不同的道路。