| 具象表现在绘画实践中的体现 |
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| 引用本文： | 赵关键.具象表现在绘画实践中的体现[J].巢湖学院学报,2007,9(4):68-70,74. |
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| 作者姓名： | 赵关键 |
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| 作者单位： | 巢湖学院,安徽,巢湖,238000 |
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| 基金项目： | 巢湖学院人文社会科学研究项目 |
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| 摘 要： | 整个绘画史就是一部观看方式的变化史。不同的绘画源于对客观世界摩仿的层面,模仿的角度的不同,这种层面和角度的不同又源于观看方式的差异,即具象表现绘画原则——强调观看的主体性,观看的多样性,由此产生的绘画风格的多样性,就为新的绘画的产生提供了可能。
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| 关 键 词： | 自然 时空性 具象表现 观看方式 |
| 文章编号： | 1672-2868（2007）04-0068-03 |
| 修稿时间： | 2007-03-12 |
ON THE APPLICATION OF EXPRESSION FIGUNATIVE TO PAINTING PRACTICE |
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| ZHAO Guan-jian.ON THE APPLICATION OF EXPRESSION FIGUNATIVE TO PAINTING PRACTICE[J].Chaohu College Journal,2007,9(4):68-70,74. |
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| Authors: | ZHAO Guan-jian |
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| Institution: | Chaohu College , Chaohu Anhui 238000 |
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| Abstract: | The whole history of painting can be considered as a developing history of ways of observation.Different paintings originate from different scope and different angle to imitate the objective world,which,however,just result from different ways of observation.All is defined as principle of expression figurative.This principle puts emphasis on different observers and different ways of observation,which,consequently,makes it possible to form new styles of painting. |
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| Keywords: | nature time and space expression figurative ways of observation |
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