| 中国画点线面之审美意蕴 |
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| 引用本文： | 黄志强. 中国画点线面之审美意蕴[J]. 泉州师范学院学报, 2008, 26(1): 109-114 |
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| 作者姓名： | 黄志强 |
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| 作者单位： | 泉州师范学院,艺术学院,福建,泉州,362000 |
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| 摘 要： | 点、线、面是中国画构成的重要因素之一，是三位一体的关系。文章对“点”在山水画、花鸟画、人物画中的运用和“线”的理论建构——骨法用笔、中锋用笔、方圆、迟涩、十八描法等用笔技巧以及“面”的黑白、“影”、“墨分五彩”、“石分三面”、“树少四枝”、“三远法”和“谨毛失貌”等表现形式从不同的层面展开论述。笔者企盼能全方位、历史客观地把它们的缘由、过程兼之美学意蕴作较为系统的梳理。
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| 关 键 词： | 中国画 点线面 意蕴 三位一体 |
| 文章编号： | 1009-8224(2008)01-0109-06 |
| 修稿时间： | 2007-08-20 |
Aesthetic Implication of Chinese Painting in Dot, Line and Plane |
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| HUANG Zhi-qiang. Aesthetic Implication of Chinese Painting in Dot, Line and Plane[J]. Journal of Quanzhou Normal College, 2008, 26(1): 109-114 |
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| Authors: | HUANG Zhi-qiang |
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| Affiliation: | HUANG Zhi-qiang (School of music,Quanzhou Normal University,Fujian 362000,China) |
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| Abstract: | Dot,line,and plane, being one of the impartant factors that constitute Chinese painting,forms the relationship of trinity. The article launches discussion from different levels： the application of ＂dot＂ in the landscape painting, flowers and birds painting,figure painting, the construction of ＂line＂ and the manifestation of ＂plane＂. The writer systemically explains their origin, process and esthetics implication in all directions and of objective. |
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| Keywords: | Chinese painting dot, line and plane implication trinity |
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