“传移模写”的思想实质  

On the Essence of "Chuanyimoxie"

作　　者：韩雪松[1] 

机构地区：[1]东南大学艺术学院,南京210096

出　　处：《北京理工大学学报（社会科学版）》2012年第5期145-150,共6页Journal of Beijing Institute of Technology：Social Sciences Edition

基　　金：国家教育部人文社会科学基金资助项目"中国美术史中的图像与文学关系研究"(11YJCZH090)

摘　　要："传移模写"与刘绍祖没有必然的联系。对刘绍祖而言,"移画"仅仅表示他有能够超出一般画家的精密细致的描写能力。"传移模写"和临摹没有联系。"传移模写"以自然为粉本,"传移"强调创造性,"模写"强调细致的描写。张彦远提出"传移模写,画之末事"应当在他所提及的语境中去理解,从张彦远批评当代艺术家绘画只顾及形似、色彩,而失其笔法,没有气韵以及艺术家轻率的创作态度看,"末事"不是小事,而是大事,它与"经营位置,画之总要"一样,处在非常重要的地位。"传移模写"要求绘画应该包含形、色、笔法,甚至气韵,它是对画家提出的高标准。张彦远和谢赫都对他这种画风提出了批评。＂Chuanyimoxie＂ is not necessarily related with Liu Shaozu. To Liu, ＂yihua＂means that he has the ability for realistic description that surpasses ordinary painters. ＂Chuanyimoxie＂is different from copy. It treats nature as its object, with ＂chuanyi＂ stressing on creativity and＂moxie＂emphasizing details. ＂Chuanyimoxie＂as put forward by Zhang Yanyuan should be understanded in his specific context. Zhang critisized contemporary artists for only paying attention to similarity and coloring, while losing sight of painting skills and artistic conception. Accordingly,Zhang concluded that ＂ehuanyimoxie＂is no trivial matter but of paramount importance. It requested that the painting should integrate shapes,colors,strokes, and even artistic conception ,which amounted to very high standards.

关 键 词：传移模写 闲 移画 时人 末事 

分 类 号：J209[艺术—美术]