形色结构在线视频

同学们好
hello everyone

这一讲我们探讨
in this course we'll talk about

形色结构
color form structure

形色结构
The color form structure

是画面通过
is an orderly organization of painting

形的不同墨色关系和色彩关系
through different brush stroke and color relations

形成有序的组织
of the form

以表达我们的审美心理
to express aesthetic psychology

每一种色彩
Each color

都有相对一般的表现性
has a relative expression

这是客观色本身折射出来的
which is reflected by the objective color itself

每一色彩组织
Each color organization

都有一个审美意图
has an aesthetic intention

这个意图
this intention

通过色彩组织关系来呈现
is presented through the relationship of color organization

这是主观色的趣味表达
this is the interesting expression of subjective color

我们首先谈的是墨色结构
let's talk about ink and color structure

中国画的色彩
The color of Chinese painting

与西画有很大不同
is very different from western painting

其独特的用色方式
and its unique coloring method

与中国人的思维特征相一致
is consistent with the thinking method of Chinese people

表现特点是
The character of Chinese painting

不做物理属性的简单传摹
isn’t simply depicting physical object

将世间万物转化为笔墨关系
but transform everything into a brush-ink form

通过点 线 墨块
through the basic factors of dots, lines, ink form

这些基本因素
these basis elements

在浓 淡 干 湿的墨色变化
with dark, light, dry, and wetness changes

和富有概括力的色彩辅助下
and comprehensive color assistance

揭示主体的审美趣味
reveal the subject's aesthetic interest

中国人通过浓淡干湿的墨色变化
Chinese people through the changes of dark, light, dry and wet ink

揭示事物运动的规律和旋律的秘密
revealed the law of movement and the secret of the melody

将生命的律动体验
and present the rhythmic experience of life

通过笔墨相对因素
through the relative factors of brush and ink

在矛盾与统一的变化中呈现
in the change of contradiction and unity

这是中国画的表现特性
This is the character of Chinese painting

笔墨在表达生命形式体验时
When expressing the experience of life forms

形成一种有势态变化的结构
form a structure with dynamic changes

这种结构
such structure

与体验到的生命形式相吻合
consistent with the life forms experienced

笔墨结构
Brush ink structure

是指笔墨形态之间
refers to the organic arrangement

有机的排列和组合
and combination of brush-ink forms

这种排列与组合的结果
The result of this arrangement and combination

与画家的审美趣味
is closely related to the artist's aesthetic taste

学养 经历
education, and experience

有着密切的联系
has strong connection

传统画家
Traditional painters

把笔墨形态之间的势态营造
regard the construction of brush-ink forms

视为能够揭示生命形式
as the most direct way

最直接的方法
to reveal life forms

所以笔墨结构实际是
so the structure of brush and ink is actually

创作主体对生命形式体验的
a visual expression

形象化的表现
of the creative subject's experience of life forms

中国画的创造
The creation of Chinese painting

以揭示内在生命活力为标志
is marked by revealing the inner vitality of life

如果上升到理想
If it rises to the ideal

致美的境界
the ideal aesthetic level

需要看能否
it depends on whether

触及到这个世界本源的东西
it can touch the origin of this world

从这个意义上看
In this sense

中国画的理想追求
the ideal pursuit of Chinese painting

不是一般的艺术活动
is not a general art activity

而是一项很高的境界表达
but a high level of expression

和智慧活动
and intelligent activity

我们来看虚谷 齐白石 黄宾虹
take a look at the structure of the brush and ink in paintings of Xu Gu, Qi Baishi, and Huang Binhong

画中的笔墨结构
the structure inside

奇中有正
there are smooth in the strange

缓中有急
urgent in the slow

虚中有实
solid in the void

平中有险
dangerous in the safe

在矛盾之中求和谐
Seeking harmony among contradictions

用辩证的方法
using dialectical methods

把握众多因素的变化
to cooperate with changes of many factors

获得势态表现的勃勃生机
and gaining the vitality

以此来契合
in order to fit

大千世界本体内蕴
the immanence of the world

这是中国画笔墨结构的
this is the true pursuit

一种真实追求
of brush and ink structure in Chinese painting

我们所把握的艺术形象
The artistic form we make

既要有鲜活的个性特征
must not only have vividness

又要能够体现表现内里的
but also can reflect the vitality inside

生机活力
the feeling of life

韵律与节奏变化
and rhythm behind the appearance

在落实这些感受的过程中
In the process of expressing these feelings

画面所有的物象
all objects in painting

都不再是孤立的生活现象
are no longer isolated life phenomena

而在主观情感的
but with subjective emotions

筛选和改变下
under selected and modified

或加强
or strengthened

或削弱
or weakened

或被剪裁
or be cut

或被创造
or be created

所有能够确定在画面里的东西
and all things that can be determined in painting

彼此都形成了审美联系
are forming an aesthetic connection with each other

它们通过有序的组织
through orderly organization

来印证创作主体
to confirm subjective experience

对生命形式的精微体验
of life form

所建构的画面的
the simplicity

单纯性和简化性
of the constructed painting

比直观生活
is concise and pure

更简洁 更纯粹
than the intuitive life

这就是笔墨结构创造的意义
That’s the meaning of brush-ink structure

随着西学东渐
with communication between eastern and western art

中国画家
Chinese painters

在东西方双重艺术教育的影响下
under the influence of the East and West

形成了对两种文化的理解
formed an understanding of the two cultures

不仅继承传统表达方式
They not only inherited traditional expressions

也掌握了西方美术教育中的
but also mastered the chromatics in Western art education

色彩学
chromatics

对中国画的创新发展
brings new energy

注入了新的能量
in innovation of Chinese painting

中国画色彩表现
color expression in Chinese painting

在当代发展中
in contemporary

既不能放弃固有的
cannot abandon

水墨观念和表现方法
the inherent ink painting concept

像西画和日本画那样发展下去
and express like western painting or Japanese painting

也不能无视
nor it can’t ignore

现代人对色彩的感受
the contemporary need for color perception

和表达上的需求
and expression

而固守水墨表达方式
and stick to the traditional method of ink painting

在这两者之间
in between

还存在着一种
There is also a

墨色与颜色相结合的实践
practice of combining ink color and color

既延续了传统表现方法
which not only continues the traditional expression method

又有色彩感受的表达
but also expresses the feeling of color

这种表达方法
This expression method

估且我们可以称为
is called the expression of

色墨结合的表达
the combination of color and ink

超越了传统色彩表现的方式
which surpasses the traditional color expression method

在中国画色彩表现上
and it is a new breakthrough

是一种新的突破
in the color expression of Chinese painting

这种表达
This expression

以单色与墨和多色与墨的
s about single color with ink or multicolor with ink

浓淡变化布局
and ink composition

单色与墨的对比使用
The use of contrast between single color with ink

实际上是
is actually

中国传统的表达方法
one of traditional Chinese expression method

在极简约的色相表现中
In the extremely simple color expression

运用色形的变化
the change of color form

来满足视觉上的丰富效果
is used to meet visually effect

这种画面布局
This kind of structure

基本限定在两维空间
is basically limited to two-dimensional space

极富有装饰味道
which is very decorative

以朱砂单色布局画面
it uses cinnabar as the only color in painting

其丰富的效果
Its rich effects

全凭色形面积的
are obtained by the size

大小 形态变化来获得
and shape of the color

这是一件十分经典的
this is a very classic

单色画面布局
single-color composition

与其同样经典的单色绘画
Like other same classic single-color Chinese paintings

我们还可以在
we can also

唐代李重润墓室壁画中可以看到
see in the murals of Tang dynasty Li Chongrun's tomb

朱砂车饰 服饰和武器配饰
that cinnabar decoration

构成色的结构
clothing and weapon accessories constitute a color structure

它们的布局
and their appearance

形成某种色形的势态
forms a certain color form

尽管施色方法
Although the color application method

仅仅使用平涂
only uses flat coating

但通过色形大小
but through the change of color shape

疏密变化
and density difference

创造了十分丰富的
it creates a very rich

视觉式样
visual style

这是一种独特的表达方法
which is a unique expression method

如果多种色彩并置使用
If multiple colors are used together

常以一色为主
it is often based on one color

这样不会产生杂乱的感觉
so it won’t be too messy

当然这种主色调的色形
Of course, the form of this color

在画面构成上
on the structure of painting

需要有变化
needs to be movable

与其他色形
and other visual form

也要达到一种
should also achieve

视觉上的平衡
a visual balance

民间木版年画
in folk art and wood print art

在这方面的处理
some art pieces

比较有代表性
are very representative

红 蓝 紫 黄
colors of red, blue, purple, and yellow

四色互相穿插
are interspersed with each other

设色比较随意
and the color choice is very casual

色形变化
Although the form of color

虽然依附服饰结构
followed with the structure of the clothing

但服饰的结构变化
but the change in cloth structure

使色形分割
divide the form and color

有了最大的可能性
makes the forms get more possibilities

一种色相的色形
The form of color

面积上的大小
the size of the area

完全在主观控制下进行
is completely under subjective control

为了使四种颜色并置
In order to make the four colors work with each other

不会产生杂乱感觉
without messy

民间艺人们
folk artists

所采取的控制手段
control method adopted by them

是色形面积的比例
is to control the proportion of color form

色相要有主次
the color must have primary and secondary

同一色相的色形
the form of same color

要有变化
must be in different shape

并且要均衡呼应
and it must be also well balanced

以上介绍的是
above

传统的设色方法
describes the traditional color setting method

但现代中国画色彩表现
but the color expression of modern Chinese painting

已经和传统设色
has been very different

有很大的区别
from the traditional color choice

传统设色多为观念色
Traditional color choice is mostly conceptual color

现代设色
modern color choice

在色彩认识和感受上
in color recognition and experience

有了很大的发展
has greatly developed

色墨关系
color ink relationship

有了更多的体验和经验
get more experience

色相变化
in the change of hue

明度变化
brightness

和纯度变化
and purity

有了更高的色彩关系和追求
got higher pursuit

这是中国画发展的新趋势
This is a new direction

在当代中国画色彩表现中
in the development of contemporary Chinese painting

纯笔墨方式
the method of brush and ink

借鉴敦煌壁画方式
learned from like Dunhuang mural

借鉴民间艺术方式
folk art

融合西方色彩的实践
and western paintings

还在进行中
is still on its way

以至于完全放弃笔墨
so that the brush and ink are completely abandoned

运用矿物质颜料
and the method of

进行表现实践的一路
mineral pigments expression

也有很大影响
has a great influence

各种艺术实践
Various artistic practices

都做过一段尝试
have made some many attempts

其结果表明
and the results show that

放弃笔墨因素
abandonment of the brush and ink

作纯色彩表达
and pursuit pure color expression

会类同西画 日本画
will be too similar to Western painting or Japanese painting

将失去中国画笔墨形式的
and will lose the unique character

独特表现特征
of the Chinese brush and ink form

若固守千百年来的
If stick on traditional

笔墨程式
brush and ink method

不向前发展
without new development

笔墨方式在表达
the brush-ink method

当代人的审美旨趣上
as difficult to express the aesthetic appeal

又很难令人满意
from contemporary people

由此可见
It can be seen that

墨色结合一路
the combination of ink and color

在今后的一段时期
should be a development direction

应该是一个发展方向
in the future period

其结果
The result is

是将西方绘画
the fusion of Western painting

同中国绘画及民间艺术
with Chinese painting and folk art

融为一体的整合实践
turns into new practice