摘要
先秦画论侧重五种正色的布局,其未能超出礼仪和实用的范围。绘画作为一门独立的艺术出现于东汉时期,以色相的变化来传达统治者的情感,写像肖似的手法达到古典写真主义的高峰,绘画成为礼制教化的工具。魏晋时期,图画改变了汉以来五行象征色的主观色彩,能够随类赋彩地表现物体的固有色。感知美术作品的两个最直接的方式是画面中"形"与"色"的关系,即"应物象形"与"随类赋彩"的展现。
In the pre-Qin era, the painting theory focuses on the layout of five pure colors which are not beyond the scope of etiquette and practicality. Painting, as an independent art, appeared in the Eastern Hart Dynasty with the change of hue to convey ruler＇s emotion. The skill of portrait reached the peak of classical hyperrealism, and painting became a tool of ritual indoctrination. In Wei-Jin period, the painting has changed the condition that five elements symbolize subjective color since the Han Dynasty and could show the natural color of objects by drawing color adhere to the type. The most direct way to perceive art works is knowing the relationship between the ＂form＂ and ＂color＂ in a painting, namely the expression of ＂expressing objects objectively according to their original forms＂ and ＂drawing color adhere to the type＂.
出处
《齐齐哈尔师范高等专科学校学报》
2017年第2期61-63,共3页
Journal of Qiqihar Junior Teachers College
基金
2013年教育部规划基金项目"现象与观念--历史艺术学视角下的先唐艺术文献研究"阶段性成果
项目批准号:13YJA760047
关键词
五色
复礼
教化观
象形
随类赋彩
five pure colors
thought of restraining oneself
view of education
shape similarity
drawing color adhere to the type
作者简介
戴明秀（1991-），女，江苏省句容人。重庆师范大学美术学院研究生。主要研究方向：中国古代美术史及理论。
