| 传统工笔人物画色彩研究 |
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| 引用本文： | 王骁勇.传统工笔人物画色彩研究[J].天水师范学院学报,2002,22(3):62-64. |
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| 作者姓名： | 王骁勇 |
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| 作者单位： | 天水师范学院美术系,甘肃,天水,741001 |
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| 摘 要： | 线描结构与色彩结构是工笔人物的基本结构,线描在长期的发展过程中形成了极为丰富的文化积淀,色彩结构在色服从于线的前提下,在“色不碍形,线不碍色”的合作之中共同形成了工笔人物画的画体特征。中国画的色彩观基于中国古代哲学的五行观念而有青、黄、赤、白、黑五行之说,形成了“五彩彰施”、“随类赋彩”的设色准则和要求。学习研究中国古代传统工笔人物画的色彩结构,对发展现代工笔人物画有极为重要的意义。
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| 关 键 词： | 中国画 传统工笔人物画 五彩彰施 随类赋彩 色彩配置 |
| 文章编号： | 1371-1351(2002)03-0062-03 |
| 修稿时间： | 2002年2月16日 |
Study of Color of Traditional Meticulous Figure Painting |
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| WANG Xiao-yong.Study of Color of Traditional Meticulous Figure Painting[J].Journal of Tianshui Normal University,2002,22(3):62-64. |
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| Authors: | WANG Xiao-yong |
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| Abstract: | Line structure and color structure are the basic structures of meticulous figure painting. Line painting has formed a very rich cultural accumulation. The combination of the two structures without interfering one another formed the main characteristics of meticulous figure painting. It is very rewarding to modern meticulous figure painting to study the structure of ancient traditional meticulous figure painting. |
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| Keywords: | China painting traditional meticulous figure painting five color application different-typed color color match |
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