摘要
书画同源论认为绘画与书法同源,源于汉字之象形;书画同体论认为,绘画与书法的表现手法同一,均立足于骨法用笔与笔墨兼济。书画一律论之基础乃绘画借用书法工具——毛笔。书法极大地影响了中国绘画的表现手段、艺术趣味与审美风格,促使中国绘画走向抽象造型、主观表现之路。立足于再现造型观念,较之于西方绘画,我们将意识到中国古代绘画在对象再现方面的艺术成就极为有限。根本原因在于,中国古代绘画未能确立独立于书法之外的再现造型观念,未能发展出忠实、细腻、完善地再现对象的艺术语汇与技能;未能培养起客观对待自然之态度,以及细致、深入地认识各类对象的文化趣味。
The homology holds that Chinese painting and calligraphy both stem from the pictographic characters; while the consubstantiality believes their representation is the same concerning how to handle the writing brush and the com- bined usage of brush and ink. Chinese calligraphy greatly influenced Chinese painting in its representation, artistic taste and aesthetic style by rendering it abstract in form and subjective in representation. As for representation, ancient Chi- nese painting seemed rather limited compared with the western one, basically due to the fact that there has neither de- veloped a representation independent of calligraphy with a faithful, accurate and complete artistic vocabulary nor culti- vated an objective attitude toward nature to appreciate the objects minutely and deeply.
出处
《贵州大学学报（艺术版）》
2014年第1期10-19,共10页
Journal of Guizhou University Art Edition
关键词
书画同源
书画同体
再现造型观念
造型艺术语汇
客观地对待与认识对象
homology of Chinese calligraphy and painting
consubstantiality of Chinese calligraphy and painting
concept of representation
artistic vocabulary
objective attitude
