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墨象,不能简单理解为笔墨在载体上运动所留下的痕迹。墨象是中国书法中,对汉字书写予以较好的技术处理,超越在一般意义的汉字书写能力以上的,表述内心深处某种意念的外部视觉信息的艺术行为。诸如:线条张力的强弱、点画构架的精糙,行笔速度的快慢,墨色浓淡的对比、字型大小的协调,使转方圆的并用、点线粗细的调控、欹正疏密的搭配,以及急中求缓、虚中见实、白中守黑等等,珠联璧合,墨象环生。“无色而具画图的灿烂,无声而有音乐的和谐”(沈尹默语)。书法中千变万化的墨象时空,正是运用了这些技术手段,从而构建了一个看似单一色的平面的,实为丰富多彩的立体的三维空间。
Moire, can not simply be understood as the ink on the carrier left by the movement traces. The image of ink is the artistic behavior of Chinese calligraphy which gives better technical treatment to the writing of Chinese characters and surpasses the external visual information expressing the inner meaning of a certain meaning beyond the ordinary Chinese writing ability. Such as: the strength of the line tension, dot painting framework of the rough, the speed of the pen line speed, contrast ink color, font size of the coordination so that the transfer of the round and the use of dot thickness control, As well as urgently seeking ease, virtual reality, black and white, etc., perfect match, the image of students. “Colorless and brilliant drawing, silent and musical harmony ” (Shen Yin silent language). It is through the use of these technical means in the ever-changing calligraphy of the time and space of the ink, so as to construct a three-dimensional space that looks like a single color and is rich and colorful.