基于视知觉理论的工笔花鸟画构图探析  

Analysis of the Composition of Meticulous Flower and Bird Paintings Based on Visual Perception Theory

作　　者：曹炀森 严波 CAO Yangsen;YAN Bo(School of Applied Art and Design,Shanghai Polytechnic University,Shanghai 201209,China)

机构地区：[1]上海第二工业大学艺术与设计学院,上海201209

出　　处：《上海第二工业大学学报》2024年第1期109-113,共5页Journal of Shanghai Polytechnic University

基　　金：上海第二工业大学校基金项目(EGD22QD17)资助。

摘　　要：在绘画中构图是一项至关重要的艺术技巧,良好的构图设计能够使画面更加生动,是一幅画作成败的决定性因素之一。中国传统的名画都具有精妙的构图(如于非闇的《白牡丹》),但如何精确评价画作的构图,传统评鉴方式主要依据评论家的直观感觉。运用鲁道夫·阿恩海姆的视知觉理论分析中国传统绘画,是一种可以借鉴的分析方法。通过视知觉理论分析于非闇《白牡丹》构图中的力的平衡,可以为花鸟画的构图在现代设计语境下提供新的审美路径。在此基础上,以江苏省美术馆“雁过留声”系列文创产品作为案例探析利用传统绘画如何进行创新设计。由此,融入视知觉理论的构图方式为传统中国画的赏析及推广提供了新的传播视角及方略。In painting,composition is a crucial artistic skill that can greatly enhance the vitality of a picture.It is one of the decisive factors determining the success or failure of an artwork.Traditional Chinese paintings,such as YU Feiyan’s“White Peony”,are known for their exquisite compositions.However,the accurate evaluation of composition in paintings traditionally relies on critics’intuitive perception.Applying Rudolf Arnheim’s theory of visual perception to analyze traditional Chinese paintings offers a valuable analytical approach.By using Rudolf Arnheim’s theory,we can analyze the balance of forces in the composition of YU Feiyan’s“White Peony”and provide new aesthetic paths for the composition of flower and bird paintings in a modern design context.Building on this,we can explore how traditional paintings can be innovatively designed,using the series of cultural and creative products“Echoes of Geese Passing”from the Jiangsu Art Museum as a case study.Thus,incorporating the principles of visual perception into compositional techniques provides new perspectives and strategies for the appreciation and promotion of traditional Chinese painting.

关 键 词：工笔花鸟画 绘画构图 视知觉 力的平衡 

分 类 号：J206.1[艺术—美术]