论绘画的程式-美术学专业论文.docxVIP

AbstractQuestion Abstract Question of“pattern”is a fundamental question in art aetivity．It is not only a question that connects with the meticulons skill and expression，but also a big question which influence the entire teaching concept and teaching system．The view and recognitoin we have in the question of pattern is a process from shallow to deep．Pattern is asurface and aspiritual essence．From surface to essence，we may adequately grap its form、。content．Shortcoming and essence， by way of oldform，we may overview and understand the old times、mind and temperament and interest of human beings，or we may fing something connecting with contemporary times，or it will help us realizelife and retrospect more clearly．The artcle is written to discuss pattern and purpose according to the writer’s recognition in pattern．pattern and paiting object，cultural background of pattern，purpose of form and philosophy，religion，spiritual character and art connection All the aspects concened in the article may not have tight logic relation，but they are important questions in reality． we believe，successful art teaching which embody constant study in the research of art tradition of human beings， including the fureher Understanding of the art shape created by human beings． Keyword：pattern purpose of form contemporary development 按照西方人“预成图式”的观点，我们在《芥子园画谱》。中可以发现绘 按照西方人“预成图式”的观点，我们在《芥子园画谱》。中可以发现绘 画对习惯语汇(预成图式)的必然依赖，这部著作告诉我们： “如学字之初。必先撇画省俭以及繁多，自一笔二笔至十数笔。故起手式， 花叶与枝，由少瓣及多瓣，由小叶以及大叶，由单枝以及多枝 庶学者由浅 入深求之，则近乎技矣。” 这些法则有的概括成传统的回字口诀，能使学生通过诵读记住，如画兰须 知： “先分四叶，长短为元，一叶交搭，联媚取研 墨须二色，老嫩盘旋。 瓣须墨淡，焦墨萼鲜，受如擎电，忌用迟延。”——这样，创造一个兰草形象 的规则尽在其中。 这种习惯语汇积累的做法正好适应了文化的连贯性，也成为传统美术教育 的显著特征。在传统的中国绘画中，绘画的用笔、用色都有严格规范，各种笔 法、设色法．就如同一个极其丰富的语汇集，具体细微的勾法、皴法都能在那 里找到，熟练的画家可以依靠掌握的图像方法而一气呵成。 同样，在世界的其它地方我们仍然可以毫不费力地找到对程式的注解，比 如古埃及艺术所有的雕像、绘画作品和建筑形式仿佛都遵循着同样的法则而贯 通理脉，似乎这种法则为全部创造物所共同遵循。坐着的雕像必须把双手放在 膝盖上：男人的皮肤必须比女人的颜色深；对于每一位埃及神的外形都有严格 的界定；每个艺术家还必须得练出一手优美的字体，把象形文字的图形和符号 清楚地刻