写生之本体意涵与当代中国画写意精神的回归  

The Ontological Meaning of Sketching and Return of the Freehand Spirit in Contemporary Chinese Painting

作　　者：曹明[1] CAO Ming(School of Media and Design,Chuzhou Polytechnic,Chuzhou 239000,China)

机构地区：[1]滁州职业技术学院传媒与设计学院,安徽滁州239000

出　　处：《黄山学院学报》2024年第1期108-111,共4页Journal of Huangshan University

基　　金：滁州职业技术学院校级教学质量与教学改革工程项目(2023myjy02)。

摘　　要：阐释写生的本体意涵以厘清中西写生概念的历史脉络,传统中国画学语境中的写生除专指花鸟画科外,实为写万物之生意、生机、生趣,与西方基于造型训练的写生本无瓜葛。历史的原因造成了写生概念的置换和误读,并导致当代中国画的发展脱离中国传统文化之“轨辙”。写生意涵的正本清源呼唤民族绘画写意精神和传统的回归。To clarify the historical context of Chinese and western sketching concepts,this paper elaborates on the ontological meaning of sketching.In the context of traditional Chinese painting,sketching not only specifically refers to the subject of flower and bird painting,but actually depicts the spirit,vitality and joy of life of all things,which has nothing to do with the western sketching based on modeling training.Historical reasons have caused the replacement and misreading of the concept of sketching,and led to the development of contemporary Chinese painting being deviating from the“trajectory”of traditional Chinese culture.Therefore,the essence of sketching calls for the return of the freehand spirit and tradition of national painting.

关 键 词：写生 本体意涵 绘画 写意精神 

分 类 号：J202[艺术—美术]