（Wonder of come back again） (Wonder of come back again)
重归不似之似 Does not seem like the reintegration
――关于中国水墨人物画的造型、色彩和形式构成问题 - About China ink figure painting shape, color and form of a problem
冯 远 Feng Yuan
2007年07月01日11:01 来源： 人民网 At 11:01 on July 1, 2007 Source: People's Network
研究表明，艺术具有多种功能，但同时具有相对独立的审美价值。 Studies have shown that art has a variety of functions, but it has a relatively independent aesthetic value. 艺术在其创造过程中有它的自身规律可循。 Art in its creative process has its own laws to follow. 艺术具有品位的高下之分，虽然评判的价值取向可能不尽一致，但是，成功的艺术作品必定具备那些人所认同的基本条件。 Art has a taste of the superior or inferior points, although the judge may not be the same values, but the successful work of art must be recognized by those who possess the basic conditions.
本文拟就中国人物画发展的几个重要问题，如意象造型、诗意化色彩和形式构成提出一些粗浅看法。 This paper proposed the development of China's portrait several important issues, such as image shape, color and form of poetic composition to make some superficial views. 中国人物画笔墨当然也是一大课题，但近年有关笔墨的论述较多，故此处不予展开。 Chinese figure painting pen and ink of course also a major issue, but more recent discussion of the ink, it will not start here.
中国画的意象造型之说，已是个说滥了的题目。 Chinese painting style of imagery that is already a subject of that cliche. 但是相对来说，意象造型问题在山水画中解决得较好，花鸟画次之，人物画则并不理想甚至倾向倒退。 But relatively speaking, image modeling issues addressed in the landscape too well, flower the second, portrait orientation is not ideal or even retrogression. 在目前众多人物画家的艺术实践中，意象仅仅被理解为在原型基础上加进或扩大主观夸张成分。 In the current number of characters the artist's artistic practice, the image only be understood as in the prototype added or expanded on the basis of subjective and exaggerated. 因此． 因此. 在似与不似之间基本偏重于似。 In between like and unlike the basic emphasis on might. 这当然并不奇怪，因为人物画历史的渊源和继承也正取向于此。 This is of course not surprising, because the portrait its origins in history and inheritance are also oriented to this. 我们很少在画史上看到作品能越出雷池，倾向于不似，甚至根本不似的现象，即使有，也是凤毛麟角，寥若晨星，或被视为异类，难以在当时和历史上获得立锥之地。 We rarely see the works of art history can be beyond perimeter, tend not to like, or even do not like the phenomenon, even though there are also rare, rare at, or as a heterogeneous, it is difficult at the time and history, won almost deprived of accommodation. 近几十年来，引入科学的素描造型训练，中国人物画在把握似的方面，取得了超越历史的突破，但在研究注重不似之似的中国艺术造型形式在绘画中的规律方面仍是薄弱的。 In recent decades, the introduction of scientific training in sketch form, the Chinese figure painting in terms of grasping-like respect, has made a breakthrough beyond the history, but not like the emphasis in the study of Chinese art forms like painting in the form of the laws is still a weak The.
在西方，自柏拉图到亚里士多德，都将艺术当作“摹仿的艺术”，认为艺术创作是审美对象的再现。 In the West, from Plato to Aristotle, all the arts as "the art of imitation," that artistic creation is a reproduction of aesthetic objects. 从文艺复兴到19世纪末的绘画，以透视法、明暗法和解剖学作为三大形式支柱，以崇尚“忠实再现”客观对象为最高境界，只是到了印象派后期，才注意到画家主观情感的表现。 From the Renaissance to the late 19th century painting, in order to perspective law, shading and anatomy, as three major forms of pillars, in order to advocate "faithful reproduction of" objective targeted at the highest realm, only to the Impressionist period, to take note of the performance artist subjective feelings. 到了近现代，现代主义绘画又走向其反面一非具象、抽象……摈弃真实，无视对象客观的反映，这是艺术创造发展进程中的逆动现象。 To nearly modern, Modernist Painting again moved toward the opposite one of its non-figurative and abstract ... ... abandon truth, ignoring the objective reflection of the object, which is in the process of artistic creation the development of the phenomenon of reverse movement. 然而近现代的中国艺术观念和审美理想，却从来没有像西方现代艺术那样以绝对超越的姿态去对待传统，相形之下，中国的艺术精神更多的是谦谦君子之风，它既注重“师造化”，但同时强调“得心源”；既重“外形”，又重“内象”；温文尔雅、不偏不倚。 However, the concept of modern and contemporary Chinese art and aesthetic ideals, but never before in modern Western art as an absolute transcendent attitude when dealing with tradition, by contrast, China's artistic spirit is more of Qianqianjunzi the wind, and both focus on "nature in , "but also stressed that" very heart source "; is heavy," appearance "and also re-Numbers" elephant "; gentle and impartial.
有趣的是，东西方的艺术史具有许多共通之处，即都经历了从具象到抽象的，从求似向似亦不似、不似之似、不似，又复归具象这样一个艺术发展的轮回转换过程(当然这丝毫不意味着否定两者间某些尖锐的不同之处)。 Interestingly, the Eastern and Western art history has much in common, that is, have experienced from the concrete to the abstract, from the demand may not seem to like, not like the like, not like, but also reverted to a development of the arts like this one transmigration conversion process (of course this does not mean negation of some sharp differences between the sites). 西方绘画艺术中“抽象美”的因素，在其早期的发展极为缓慢而隐晦，到了1 9世纪才突然加快了步伐，以至在短短的几十年中完成了这个历史转换。 Western painting art "abstract beauty" of the factors in its early development is extremely slow and obscure, to the 19 century, suddenly gathered pace, so that in just a few decades to complete this historic transformation. 而中国传统绘画中的“抽象美”意识显然早于西方，但其后来的发展却极为缓慢审慎，踽踽渐行。 Whereas in traditional Chinese painting in the "abstract beauty" consciousness is clearly back in the West, but its subsequent development is extremely slow and cautious, hunchbacked hunchbacked gradually OK. 但是尽管慢． But despite slow. 却从未停顿，直到今天也还没有彻底完成这个历史性的转换。 Has never stopped, until today has not yet completed this historic transformation. 这其中的主要原因，当然是受中国传统哲学理念、美学思想和民族审美心理机制的影响。 This is one of the main reasons, of course, is subject to traditional Chinese philosophy, aesthetic ideas and psychological mechanism of national aesthetic impact. 中国绘画艺术既从来没有达到过像西方“忠实的描摹”意义上的“似”虽然中国绘画史的前期――如宋以前――也曾力求把外界事物的形貌尽量“摹写”得像真，达到相当程度的“中同式的写实”)，也从没有出现过像西方现代绘画中纯粹抽象意义上的“不似”(尽管中国绘画史的后期――宋元以后――山水、花鸟这一类题材逐步占有绘画较大的比例，非具象、意象表现已由朦胧孳生而日渐光大，初步形成了中同式的抽象“不似”)， 中国艺术史的价值评判指向的摆幅从未指向过绝似和绝不似，但是从追求形似的“应物象形”、“传移摹写”，到注重不似之似的意象表现，毕竟跨越了几个时代。 Art of Chinese Painting either never reached the West as the "honest portray" the sense of "may" Although the early history of Chinese painting - such as the Song Dynasty ago - have sought to bring the outside appearance of things as far as possible, "depict" like a true , to a considerable degree of "in the same style of realism"), and never experienced anything quite like modern Western painting purely abstract sense of the word "non-likeness" (though the latter part of the History of Chinese Painting - Song and Yuan dynasties - landscapes, flowers and birds Painting this type of subject matter and gradually occupy a larger proportion of non-figurative, imagery, performance has been breeding and growing dim Everbright, initially formed in the same type of abstraction "not like"), judging the value of Chinese art history from the point of the swing had absolutely no point to like and not like, but from the pursuit of the shape of the "should object pictograms," "facsimile transmission shift" to focus on not seem like images of the performance, after all, to leap over several times.
确实地说，注重表现、写意，认为艺术是表现审美主体在感受外物时所产生的情意的中国传统美学理论，可以上溯到华夏文化的源头。 True to say that focus on performance, freehand that art is the aesthetic expression of the main objects in the feelings arising from outside the affective theory of traditional Chinese aesthetics, can be traced back to the source of Chinese culture. 经由形象，并超越形象之外去表现人的情感、气质、意志，在艺术处理手段上放弃纯客观的模拟再现，而直追作者主观意绪和对象内在生命意象的显现，可以从战国庄周的“解衣般礴”，东晋顾恺之的“以形写神”、“迁想妙得”、“神与物游”中得到印证。 Through the image, and go beyond the image to go outside to express the human emotion, temperament, will, in the arts dealing with the means to give up the analog reproduction of pure and objective, while catching up with thread and the object is intended by the subjective inner life images appear, from the Warring States Zhuang Zhou The "solution of clothing like Bo," the Eastern Jin Dynasty Gu Kaizhi's "to form writing God", "Fruitful Imagination," "God and the things Tour" be confirmed. 画家作画时心有主宰、胸储造化，将主观审美趣味和意念之象移入审美对象中，不为对象所累。 Painter paintings, the heart has to dominate, chest storage luck, will be subjective and aesthetic taste and ideas of the aesthetic object as the inflow is not tired for the object. 这一弃一取，真知灼见，主客体合一，经过大师手笔，意象生焉。 The abandoned one take, and insights, the main object of unity, after a master handwriting, images grow wherever.
就绘画艺术的造型规律来说：意象既不是纯客观的物体之“象”，也不是凭空臆造之“象”；既不是客体的衍生物，也不是主体的附庸。 On the shape of the law is the art of painting: images of the object is neither a purely objective and the "elephant", nor is it baseless creations of the "elephant"; is neither a derivative of the object, nor is it subject dependencies. 艺术家在表现物象时，既不以杜撰任意性的“抽象”物为作画宗旨，也不仅仅以写极目所知的“具象”物为能事，而是倾心于“不似之似”(明·王绂 )“不似之似似也”(清·石涛)、“在似与不似之间”(现代·齐白石)、“惟绝似又绝不似物象者，此乃真画”(现代·黄宾虹)，不粘不脱，不即不离，以离得合，与具象和抽象之间都保持一段神圣的距离。 Artists in the performance of object-image, when neither in order to fabricate arbitrary nature of the "abstract" matter for the purpose of painting, but also in order to write The monastery is surrounded not only known as "figurative" matter of avoiding responsibilities, but rather bent on "do not like the like" (Ming * Wang Shifu) "does not like the like seem to be" (Qing Shi Tao), "in between like and unlike" (Modern Chi Pai-shih), "but never like they were never like physical image, This is really painting" (Modern Huang Binhong), non-stick is not off, Bujibuli to get away together, and between the figurative and abstract have maintained some distance from the sacred. 但是把抽象的理论，外化为二维空间的绘画，从物象原型的体块形状抽象出平面的线条、体面的组合，这本身就是一个抽象化和形式化的过程，何况从似到不似之间还是一片具有多种选择可能的开阔地。 However, the abstract theory into a two-dimensional space outside the painting, from the physical image of the body mass prototype plane shape of abstract lines, decent mix, which in itself is an abstract and formal process, especially since that does not seem like Or one with a wide range of choices among the possible open ground. “得之于象”，(生活中具体原型)又“弃之于象”(妨碍艺术创造的具体原型)，留下的便是具有形式意味的意象。 "De Zhiyu such as" (the life of specific prototype) and "disposal at the elephant" (obstacles to artistic creation of a specific prototype), leaving behind is a form of mean images. 但是且慢，此时意象的生成，仅只是意象创造的第一阶段，即绘画的造型，多少会受制于原型的牵累；进入第二阶段，才是艺术家个人创造和艺术整体能力的显露。 But wait a minute, this time image generation, is only the image created by the first phase of the painting style, how much will be subject to a prototype Qian Lei; enter the second phase, is the art of individual artists to create and overall capacity of the exposed. 经过两个阶段变化后的物象，外形式已有显著改观，与原型相比，已经基本或都全然“不似”，但细加品察，则能感觉到原型的气质、特征得到集中化的表现，仍是脱胎于原型的“似”。 After two stages after the changes of the physical image, outer has significantly improved, compared with the prototype, has basic or are completely "not like", but careful product reviewer, you can feel the prototype of the temperament, characteristics to be centralized performance, is still born out of the prototype of the "may." 和“似亦不似”相比，前者更为强调艺术高级层次的不似，这当然具有相当的难度和需要较好的艺术素养。 And "may not like," compared to the former is more emphasis on art is not like high-level, which of course have considerable difficulty and the need for better arts and culture. 后者则仅由第一层次的“似”向“不似”进发，比较而言，后者经过严格训练并加以适度夸张则是容易达到的。 While the latter only by the first-level "like" to "not like" the backdrop comparison, the latter to undergo a rigorous training and to be modest exaggeration is easily achievable.
多年以来，在我们各大美术院校的中国人物画专业教学中临摹和写生是基础教学的主要环节：临摹的主要功能在于了解、体会，并且． Over the years, the major art institutions in our teaching of Chinese figure painting in the copy, and a painting is the foundation of the main components of teaching: the main function is to copy understanding, experience, and. 掌握传统人物画表现技法，很少把古典造型形式的规律作为课题加以研究，即使有，也是少量的。 The performance of traditional figure painting techniques to master, very few forms of laws of classical style as a topic for further research, if any, is low. 而占教学较大比重的专业写生课则主要是以静态的模特儿为表现对象，这对于提高学生把握写实造型的笔墨技法的能力固然是必不可少的，但是在实际教学过程中，我们常常过多地强调“以形写神”式的表面结构比例和形象特征的掌握，以及笔墨技巧对于不同形态质地的物象质量感的表现。 Which account for a larger proportion of the teaching of professional painting classes are mainly based on static models for the performance of the object, which enhance the students grasp the realistic ability of the shape of ink technique is of course essential, but the actual teaching process, we often too much emphasis on the "Write a God-shaped" type of surface structure and image characteristics of proportional control, as well as pen and ink techniques for different forms of physical image quality and a sense of texture performance. 很少进行通过看一眼，目识心记，培养过目不忘式的默写、背写能力训练，更少将造型形式的探究从原型到意象变化的艺术表现规律结合进专业写生进行研究探讨(当然也有少数能力较强的教师在辅导中起到了积极作用)。 Rarely carried out by looking at one, head knowledge in mind heart and train never forget it type of dictation, back to write the capacity to train, less will shape the form of inquiry from the prototype to the image changes in the laws of artistic expression integrated into the professional conduct research into the painting (of course there are a small number of teachers in guidance and greater ability to play an active role). 因此，这种相对持恒的模式，在一定程度上形成了学生和教师的心理定势，以为笔墨加造型便等于艺术，从而削弱了对中国绘画的精神特质和人物画造型规律的认识和理解。 Therefore, this relatively constant holding pattern, to a certain extent, the formation of students and teachers mind-set and think ink is tantamount to add style art, thus weakening the spirit of Chinese painting style character and figure painting knowledge and understanding of the law . 我们从不少专业院校毕业生的创作中看到这样的现象：或者一味注重摹写，直接借用生活原型和图片资料，以水墨代替素描，以烘染皴擦作明暗凹凸；衣饰纹理一一俱实，并且十分自信这是当代中国人物画贴近生活的创新之路。 We have a lot of college graduates and see the creation of such a phenomenon: either the focus on facsimile, direct borrowing of life prototype and image data in order to replace the ink drawings, to bake for light and shade dyed wrinkle rub bump; Clothing Texture 11 Ju real, and very confident it is close to life in contemporary Chinese Figure Painting innovation. 或者笔墨技巧掌握得心应手，但仅止运用在服饰和背景，而人物形象的比例结构却十分谨严。 Or a handy pen and ink techniques to master, but only just used in the clothing and background, while the proportion of structural characters was very careful and precise. 作品中平面抽象的笔墨与工整的造型给人以不相谐调之感。 Works of abstract ink with neat flat shape to give people a sense of incompatible harmonization. 或者是任意将人物拉长、挤短，追求一种憨拙木讷趣味，表情概念，笔调轻松放逸；为变而变，以此标新立异……当然，也有不少成功的例子，而但凡取得成功者，均出自对中国画精神感悟较深，并且下过一番苦功，又能适度把握意象造型的形式感处理者。 Or arbitrary character longer than usual, squeezing short, the pursuit of a foolish clumsy stiff interesting concept expressions, tone easily Fang Yi; change for the sake of change as a maverick ... ... Of course, there are many successful examples, and where successful who are from the deeper insights on the spirit of Chinese painting, and did some hard work, but also grasp the image of a moderate form of the shape of a sense of processor. 专业院校尚有如此缺憾，更不必说许多出自业余画家之手的作品了。 There are specialized institutions such defects, not to say that many hands from the works of amateur painters had. 加之近年来艺术品更多地进入商品流通领域，受港台商业审美趣味冲击，纤弱媚艳之风浸淫；而国家及地方主办画展中，又常有偏重题材的揣摩，以及绘画形式语言上的取巧迎合现象；因此虽面貌纷呈，但平庸者良多，使得一些真正具有较高艺术水准的人物画力作，难以脱颖而出。 Coupled with greater access to commodities in recent years, the field of art, subject to Hong Kong and Taiwan business aesthetic impact of wind steeped fragile Mei Yan; and exhibition organized by the national and local, but also emphasis on often try to figure out the theme, as well as drawing on the formal language tricks to meet the phenomenon; so although the face scene, but were much mediocrity, making some real high level of figure paintings masterpiece of art is difficult to come to the fore. 这种现象一时还看不到有所改变的迹象，不能不是令人堪忧的。 This phenomenon for a moment, do not see signs of change, can not but be alarming.
经验证明：对于中国人物画的发展前景而言，任何像西方具象造型那样，形似、肖似、酷似于物象，或是像抽象造型那样，不似、很不似、什么也不似，甚至完全舍弃物象的基本形，都不是中国人物画的出路(这在中国山水、花鸟画中表现得也许并不突出，但在人物画却十分显明)。 Experience has shown that: the development prospects of the Chinese figure painting, any style, like the West figurative, as the shape, resemblance, resemble in the physical image, or like an abstract shape who did not like, very like, what did not like, or even completely Discard physical image of the basic shape, are not the way out for Chinese figure painting (which in Chinese landscape paintings, bird-and manifested itself may not be prominent, but it was very manifest in the portrait). 即便是先不谈中国艺术的精神在绘画中的表现特色，光是中同画的材料也难以承载对于物象纤毫不差的精细描绘。 Even Putting aside the spirit of Chinese painting in the painting of the performance characteristics, alone in the same painting materials are also difficult to carry no worse for the physical image of the fine fiber depicted. 这当然并非是否同人物画家具有精细描摹的本领和改进材料的可能性，而是中国绘画一旦达到几可乱真的酷似地步． This of course is not whether it has a fine painter, with figures depicting the power and the possibility of improving the material, but once they reach a few Chinese painting can resemble lifelike proportions. 恰恰可能丧失中国绘画精神要义，同时又无法超越西方古典绘画的写实高度。 Just may lose the essence of the spirit of Chinese painting at the same time can not be beyond the Western classical realism painting height. 艺术即使具有鬼斧神工的绝似技艺，却充其量为人们提供了生活的复制品，它必然限制了作品对于审美感知的直观导向。 Even with the art of gods must like art, but at best, provide people with copies of life, which necessarily limits the works for the visual perception of aesthetic orientation. 这种一语既白的叙述当然可能具有鲜明的教化意义，但却难以给人以精神方面有关审美的补偿、启迪和由此产生的不同联想。 Such a phrase not only white, of course, may have a clear description of the meaning of enlightenment, but it is difficult to give people the spirit of the aesthetic aspects of compensation, and to enlighten and, consequently, the different associations. 相反，如果艺术创作在塑造直观形象的同时，也注意间接形象的表现，那么，甚至简单到一根弧线、几抹色彩、一块几何造型，以及一组错落有致的符号标点，都可能给人以丰富的艺术想象，整个艺术和创造欣赏过程也因此成为一种高层次的审美活动。 On the contrary, if the artistic creativity in shaping the visual image, while also paid attention to the performance of the image indirectly, then, even as simple as an arc, a few wiping color, a geometric modeling, and a patchwork group of punctuation symbols are likely to give in order to enrich the artistic imagination, the appreciation of the arts and creative process has thus become a high-level aesthetic activity.
然而中国人物的表现尺度似乎还有一个极限，那就是纯粹意义的抽象，同样不是中国人物画的出路。 However, the performance of the Chinese people seem to have an extreme measure, it is purely abstract sense, the same Chinese figure painting is not a way out. 当绘画将一切造型都支解分离，重新按他种观念综合，将生活原型任意改变至与原型毫无联系，人物就可能变为难以辨认的形状、体面和各种无法指认的符号。 When the painting in all its forms are dismember separate species, according to his concept of re-integration, the prototype will be living without any change to the contact with the prototype, the characters may become difficult to identify the shape, decent and a variety of symbols can not be identified. 这样，人物就失去了作为绘画主要内容的必要性，人物画的意义也随之消失。 In this way, people will lose the main content as the need for painting, figure painting of the significance of disappeared. 因此，对于人物画的意象造型而言，采取对不同客观素材进行不同的主见改造，即从对象外部或内部的各种关系、逻辑、形态、结构之中，抽取那些既带普遍意义又富于个性色彩的特征，集中综合再造、浓缩甚至夸张、变形的强化处理，创造出既似生活原型，又胜似生活原型的艺术形象的办法，才可能具有广阔前景。 Therefore, the image of figure painting in terms of shape and take on different objective material to a different assertive transformation, that is, from a variety of external or internal object relationships, logic, patterns, structures, extracted with a generally those that are both meaningful and rich Personality characteristics of color, a comprehensive re-focus, concentration and even exaggerated, distorted enhanced processing, to create a life of not only like a prototype, but also the artistic image of the prototype is worth a life approach, it may have a broad prospect.
真正动人的艺术，往往不是那些纯写实和纯抽象的东西，而是二者不同程度的结合所产生的作品。 Truly moving art, more often than not pure realism and pure abstraction of those things, but a combination of the two different levels arising from work. 那些动辄将写实与抽象对立起来，以为二者必居其一的论点，显然是失之偏颇的。 Those who often will be realistic and abstract against each other, thinking that it must be one of the argument is obviously biased in. “不似”与“似”，无论从艺术发展进程，还是从创作的自身规律来说，都是辩证统一的关系。 "Not like" and "likeness" in terms of the arts in the development process, or from the creative for their own laws, is the dialectical relationship between unity. 中国传统艺术的写实形象，都经过中国式的抽象处理，现代艺术中的符号，也往往通过写实的意义的认知方法去解读其中象征含义。 Realistic image of Chinese traditional arts have been dealing with Chinese-style abstract, modern art, symbols, often through the realistic significance of the cognitive approach to interpret the meaning of these symbols. 一切写实都发端于抽象之后，所有的抽象又都包含在写实之中。 All have originated in the abstract and realism, all of the abstract they are included in the realism into. 这样的例子，在当代人物画的一些成功作品中已不属鲜见。 An example of this in a number of successful works of contemporary figure painting has been not a rare.
把观察、经验、想像作为艺术创作过程中必需的三个条件，是东西方艺术家、理论家共同的看法。 To observe, experience, imagination and artistic creation as the three conditions necessary for the process is the East and West, an artist, theorist common view. 视觉上的观察当然必要，感性体验和艺术经验也同样重要，然而想象，则是运用艺术抽象实现从生活到艺术这一升华必不可少的条件。 Visual observation is certainly necessary, the emotional experience and artistic experience, equally important, however, to imagine, it is the abstract art of applying transition from life to art an indispensable condition for the sublimation. 一个个仅仅善于摹写的艺术家，凭着细心和积累的经验，通过努力描写那些生活中的直观形象也许不是十分困难的。 Just a good facsimile of an artist, relying on careful and accumulated experience, through the efforts of those living in the description of the visual image may not be very difficult. 但是运用创造性想象对生活进行一番独具匠心的剪裁改造，创造出个个眼中有、人人心中无的间接形象，则是需要才能、识见和勇气的。 However, the use of creative imagination of life to cut some personal touch to transform and create everyone in the eyes of everyone in a mind free of indirect image is a need for talent, insight and courage. 这中间的确存在着规律，找到并且把握住它，出路也就找到了。 It does exist among the laws to find and grasp it, will find a way out.
色彩在艺术创造中所起到的无与伦比的作用，使它成为一种传达心灵信息的语言而受到全人类的青睐。 Color in art creation of the unique role played by, making it a kind of spiritual message conveyed by the language of all mankind of all ages.
中国传统绘画中历来有重视色彩表现的工笔重彩和没骨彩墨画。 Traditional Chinese painting has always been the performance of the meticulous attention to color, and do not re-color ink and color paintings of bone. 中唐以前，中国绘画的色彩斑斓驳杂，金碧辉煌，尤以敦煌壁画和盛唐时期大量的重彩工笔画最为突出。 The mid-Tang ago, Chinese painting colorful heterogeneous, magnificent, especially in the Dunhuang murals and a large number of heavy-color Tang Dynasty Chinese Painting of the most prominent. 然而，即使当时色彩使用量如此之大，却从来没有能够掩盖中国画以笔墨为要义的立足点。 However, even when the use of so much color, but it has never been able to cover up the Chinese painting with pen and ink as the essence of the footing. 赖以造型的线以墨作色；用以轻罩淡染的色彩中，均以墨来起色彩调节作用。 Line to which the shape of ink stained; used to cover short-dyed colors of light, the majority are from Mexico to regulate color. 晚唐以降，“水墨渲淡”逐渐占据画坛主流而千载不移，与西方，尤其是近现代绘画传统恰成对比。 Late Tang dynasties, "ink wash light" gradually occupy the mainstream art world and the golden embedded with the West, particularly the tradition of modern painting In contrast. “水墨画”以不具色彩倾向的墨借助水的稀释在纸上作画，水墨在用笔的基础上发挥墨兼五彩的浓淡(其实是笔中蓄水的多寡在起作用)互渗、取得水晕墨章、以少胜多的艺术效果。 "Ink" to non-ink color tend to dilute with water to paint on paper, ink in the pen based on the play and the multicolored shades of ink (actually a pen in the amount of water at work) Infiltration, access to water halo Mexican chapter of the few wins and more artistic effect. 这在中国人看来不仅正合口味，甚至将它奉为正统，进而认同为中国艺术特性和审美心理定势，并且加以理性肯定，还罩上一层哲学色彩的光圈。 This is the Chinese people seems not only exact tastes, and even that it regarded as a legitimate one, and then accepted as a feature of Chinese art and aesthetic mind-set, and sure to be rational, but also cast a layer of iris color of philosophy. 但是这在西方艺术家眼中却是不可思议的。 But the eyes of an artist in the West is inconceivable. 只以黑色或黑白两色作画，会被指斥为患了色盲症、恐色症；更难以理解中国以墨和留白为基调的笔墨语言。 Only black or black and white painting, will be condemning the infestation of the color blindness disease, Chromophobia; more difficult to understand China to ink and the blank space for the tone of the ink language.
造成中国绘画“运墨而五色俱”、“洗尽铅华”、“卓尔名贵”的现象，当然并不是中国人天性中原本具有重墨轻色的先验素质，而是诸多历史的文化的外界原因。 Result of Chinese Painting "Yun Ju ink and colored," "Xijinqianhua", "Drow rare" phenomenon, of course, is not the nature of the Chinese people in the original light-color ink with emphasis on the transcendental qualities, but many historical and cultural external causes. 晚唐以后，水墨取代设色绘画而独步画坛，以至造成审美观念迁移，除了社会的、政治的因素之外，更多的是推崇文人绘画艺术的中国历代知识阶层所起的推波助澜作用。 After the late Tang Dynasty, ink and color painting and the only solution to replace the art world, as well as aesthetic concepts resulting migration, in addition to social, political factors, the more of a respected scholar of Chinese ancient art of painting knowledge, fueled played the role of class. 他们贬斥色彩在绘画中的地位，视色彩艳丽为低俗；贬斥工整富贵的设色绘画为不入流的匠人画；他们鄙视院体画，更不屑一顾用色大胆的民间画工画……将色彩打入另册，历代都有宏论记载。 They denounce the status of color in painting, as colorful as the vulgar; denounce neat rich colors of the painting for non-inflow craftsman painting; they despise academy paintings, bold use of color is more dismissive of the civil painters painting ... the colors ... alienated from throughout history have recorded the macro theory. 而水墨渲淡的对于心理写照、情绪宣泄的效果；恰中土林中文人追求淡泊、虚静的人生态度和审美需求。 And the pale ink wash for the psychological portrait of the emotional catharsis of the results; exactly the Chinese people to pursue the Turkey-lam, indifferent to, Xujing attitude towards life and aesthetic needs. 更为不幸的是，唐以后历代的大画家均属水墨高手，历代的史家论家皆推崇水墨为上，历代的高级文人，甚至一些位极人臣的高官显贵，也都在心底一隅留有一方寻求超越宦海人生的天地，而兼爱水墨书画，以养性明志。 Is even more unfortunate is that dynasties after the Tang great ink painters are masters, ancient historian on the ink for the home are respected, the ages of senior scholars, and even some places a very high and mighty the ministers are also in the bottom of my heart left corner of one side of heaven and earth to find life beyond the officialdom, but universal love ink painting and calligraphy, in order to keep sex Ming. 因此从王维开山到董其昌以南北宗论定乾坤，水墨画的地位日趋隆盛，声誉斐然，用色艳丽的设色绘画除了在宫廷和井市庶民间仍受到欢迎以外，昨天的富丽辉煌已成隔日之梦，这一蹶不振的萎顿整整延续了几个世纪。 Therefore, from the mountains to Wang Wei Dong Qichang to North and South were on the moves of the ink status tends to Longsheng, reputation striking, colors, colorful paintings and color in addition to municipal court and the wells continue to be welcome among ordinary people outside the next day has become yesterday's splendid glory Dream, which devastated an entire Weidun continued for centuries.
严格说来，人的视觉表象都由色彩和亮度而生。 Strictly speaking, the human visual representations by the color and brightness for us. 在接受美学看来：色彩甚至比形状、线条更能牵动与情感有涉的经验、联想。 In an interview with aesthetic view: color even better than the shape, lines have involved more affecting and emotional experience, Lenovo. 对于绘画来说，只用黑白形状、点、线传递表情和区别事物而置色彩于不顾，必然会削弱或减低了绘画(也包括其他视觉艺术)传递情感方式的层次与符号信息，这不能不在相当程度上疏远了人们赖以生存而又充满色彩的现实世界。 For the painting, the only black and white shapes, points, lines to convey emotion and the color difference between the expense of things which home will inevitably weaken or reduce the painting (also including other visual arts) way to pass the level of emotional and symbolic information, which can not but a certain extent, alienated people's survival but the real world is full of color. 我们既然承认世界上不同种族、不同地域文化的审美心理，都具有相似的感觉，那么我们也就不得不承认：把水墨黑白和与之相适应的技艺形式视为中医绘画的不易法旨，既不符合人的天性，也不适应文化发展的历史要求。 Since we recognize the world's different races, different regions of the aesthetic and cultural psychology, have similar feelings, then we also had to admit: the ink black and white and corresponding art form as Chinese painting is not easy Fazhi neither consistent with human nature, history and cultural development do not meet the requirements.
怎样处理墨与色的关系，这不仅涉及材料与画法，当然也无法绕开传统审美心理方式的承继与更易的矛盾。 How to deal with ink and color relationship, which involves not only the materials and painting, of course, can not bypass the traditional mode of inheritance of aesthetic psychology and more contradictions. 问题是如何引入色彩，如何吸收西方的色彩观念，以表现光作用于世间万物的变化，逐步改变传统的以墨代色的状况?现代中国画在不舍弃笔墨的同时，色彩的表现具有多大的前景？ The question is how to introduce color, how colors absorb Western ideas, to demonstrate the role of light in the worldly things change, and gradually change the traditional colors of ink on behalf of the state? Of modern Chinese ink painting, without abandoning the same time, the performance of color with little prospect of ?
在宣纸和绢帛上作画，既要将水墨保留住已有的精妙，又要将色彩发挥至相应的程度，可能会出现不伦不类的局面。 In the rice paper and silk on silk painting, both to retain existing exquisite ink, but also will play to the corresponding degree of color may appear far-fetched situation. 要突出色彩，就要弱化笔墨，同守笔墨却又很难发挥色彩功能；已有的和谐一经打破，引入的则未必圆熟；强调质量和材料特性，必然牵动程式化表现结构、技法的改变；引进光的照射，就必然影响线造型和传统绘画形式的整合；随类赋彩，注重求实，容易降格近俗；太多采纳光色，尚且不论，先难与笔墨相融，返回水墨天地则又势必陷入传统阴影笼罩，举手投足间犹如长袍马褂难以与现代气息相投……诸如比类，这种相悖的尴尬处境，令众多实践者进退维谷。 To highlight the color, we should weaken the pen and ink, but it is difficult to play with the defensive ink color function; existing harmony, once broken, are not necessarily the introduction of skilfully; emphasis on quality and material properties is bound to affect the stylized performance of the structure and techniques of the change; the introduction of light exposure, it will inevitably affect the line shape and traditional art forms of integration; with the class assigned color, focusing on practical, easy to downgrade the past customs; too much light and colors to adopt their stance simply whether, first with pen and ink blending difficult to return ink heaven and earth are they will definitely fall into the traditional shadow and act as if between the long robe and difficult to reconcile with modern than congenial ... ... such as class, contrary to the embarrassment of this situation, so that more practitioners dilemma. 而西方的光色传统与中国的水墨传统各成体系，都在各自领域内到较高境界，因此，他们都具有很强的封闭性和排他性，两极相融的确具有相当难度。 Western tradition and the light and colors of Chinese ink painting tradition into the system, all in their respective areas to a higher realm, so they have a very closed and exclusive, the bipolar blending it does have a high degree of difficulty. 但是中国绘画走向色彩，水墨糅进现代绘画的色彩；前景并非一片灰暗。 But the Chinese painting into color, ink color melted into modern painting; outlook is not gloomy. 我们从敦煌等众多汉唐时期的绘画中可以得到启示，以写意的装饰色彩改造现代中国画，弥补其缺少物象写真色彩变化，又贫于理性光色的先后天不足不是没有可能的。 We Dunhuang and many other paintings of the Han and Tang period, can be inspiration to freehand decorative color transformation of modern Chinese painting, make up for its lack of object-image photo color changes, but also the poor in a rational sequence of days of insufficient light color is not impossible. 这种架构在两个极端之间的选择，既排斥了中国画难以也不必要达到如同西方古典绘画那样的精微真实和对于自然光色关系过于重理性分析的表现，又可以为充分发挥中国绘画侧重表现性的写意色彩提供广阔自由的选择。 This architecture is the choice between the two extremes, both the exclusion of Chinese painting is difficult and unnecessary to achieve, as Western classical painting like the subtle color of natural light for the real and the relationship between the performance of over-emphasis on rational analysis, but also can give full play to focus on the performance of Chinese painting provide a broad color of freehand freedom of choice.
当墨在水墨画中作为基本表现色彩时，其浓淡干湿分别代表一种色相、一种色彩倾向的象征意味，一种情感表达的音阶。 When the ink in the ink color as the basic performance, its shades of wet and dry representing a hue, a color symbolic tendency, an emotional expression of the scale. 但是当墨作为引入色彩绘画的组成因素时，墨就仅只具备了黑色的意义。 But when the ink color as the introduction of elements of painting, the ink would merely have the meaning of black. 尽管这块黑色(墨色)可以起到作品的色彩制衡作用。 Although the piece of black (ink) can play a work of color checks and balances. 如墨色为主，以色为辅；调入冷暖色，使墨的色相具有冷暖倾向。 Such as ink-based, supplemented by Israel; transferred to warm and cold colors, so that ink hue with a heating and cooling trends. 墨色除了同时作为造型线条勾勒的主要功能以外(当然也可以以色代墨)其意义与墨色并无二致。 In addition to ink the same time as the primary function style lines outside the outline (of course, can also use color ink on behalf of) its meaning and ink no difference. 当水墨自身意义被消解，当笔墨迁就于色彩时，笔墨的意义也在相当程度上被弱化或被纯粹意义的绘画色彩所取代了。 When the ink is dissolved its meaning, when the yield on the color ink, the ink is also a considerable extent, the meaning of being weakened or pure sense replaced by painting color. 细腻的中国墨通过不同量的水分的稀释，在特有的宣纸上笔走龙蛇、自然渗化，造成的氤氲流动的韵律，是中国画区别于其他画种的独特之处。 Exquisite Chinese ink through different amount of water dilution, in the special pen and paper, take the dragon and snake, natural bleeding, resulting in the flow of Yin Yun rhythm is the art of Chinese painting is different from other kinds of uniqueness. 虽然色彩处理得宜，也可以达到同样效果，但是不同浓淡的玄色在中国人眼中，具有其它色彩替代不了的东方式哲学意味和神秘色彩，而这恰恰是中国历代书画家孜孜以求了千年之久的境界，弃之焉能不可惜?因比保留是必需的。 Although the color handled properly, you can also achieve the same effect, but different shades of Xuanse in Chinese eyes, can not be replaced with other colors oriental philosophical implications and mystery, and this is precisely the ancient Chinese calligraphy and painting for a thousand years of assiduous state, how can he not abandoned the pity? for more than reservation is required. 而采用中国传统的矿物质颜料，并掺进现代水粉颜料，在生宣上作画，其纸质的渗透性使含水量大的颜色迅速扩散，形成画面透明与不透明的覆盖和渗化兼融效果。 The use of traditional Chinese mineral pigments, and braced with modern gouache paint, in the health propaganda on the painting, the permeability of their paper so that the color of the rapid spread of large water content to form a picture transparent and opaque coverage and bleeding and financial effects of . 在绢帛上作画，施用含水量不同的色彩，可以利用水迹和色痕达到与水墨之于生宣相当的韵味。 In the silk on a silk painting, application of water content in different colors, we can use the water mark and the marks achieved and the ink color of the Health declared considerable charm. 前者的色阶衔接天成，后者用笔结构清晰，各有特色，两者都不影响色彩叠加、覆盖。 Levels of the former bridging the heavens, and the latter a clear structure and a pen, each with characteristics, neither affect the color overlay, cover. 由此产生的写意、水墨、色彩互渗的效果，只要把握适度，同时注意引进各种制作手法，则可能使色彩与墨的互补达到交相辉映的高级境界。 The resulting freehand, ink, color Infiltration effects, so long as appropriate, bearing in mind the introduction of a variety of production methods, you can make the complementary colors and ink to echo the high-level realm. 运用墨色和色彩表现不同的对象、不同物象的质量感、不同的情绪，使画面既具有大块色彩对比的节奏和墨与亮色对比的线造型，又有变化微妙的色彩以及色彩经由视觉造成的心理情感反应，可以创造出既有强烈的视觉冲击效果又富有中国式情调中那种充溢着宁和底蕴的艺术作品。 The use of ink and color performance of different objects, different sense of physical image quality, different emotions, so that not only has large color screen contrast rhythm and ink compared with the light-colored line shape, there are subtle changes in color and color vision caused by the psychological emotional response, you can create both a strong visual impact and very Chinese-style ambience that was imbued in Ning and details of works of art.
当士大夫文人式的恬淡、虚静的文化审美价值取向渐渐弱化，市民式亲世、贴进人生物欲需求的文化审美价值取向逐渐占上风，那些超脱以至禁欲气息的古典审美标准，势必被更为符合人性和人本精神的近现代审美标准所取代。 When the literati literati style of tranquil, aesthetic values of cultural Xujing gradually weaken, the people pro-World Bank-type and paste into the materialistic life, the needs of the aesthetic and cultural values gradually gain the upper hand, those who transcend even the ascetic aesthetic standards of classical atmosphere is bound to be more in line with the spirit of human nature and people-replaced by modern standards of beauty. 这种反映在绘画界的变化现象远不仅止于中国。 This is reflected in the painting industry change phenomenon is not only limited to China far. 近邻日本自明治维新始发洋画运动，历经百年变迁，使现代的以色彩为主体的日本画代替了以水墨为主的南画的历史地位而居画坛主流，及至蜚声欧美便是一例。 Neighbors in Japan since the Meiji Restoration of origin Western Painting Movement, after a century of change, so as to color as the main body of modern Japanese painting with ink-based instead of painting the historical status of the southern door to the mainstream art world, Europe and the United States till famous example. 中国自引入油画、水彩等诸种西方以表现光色为基础手段的画种之时起，以色彩改造中国画就成为一种发展的必然趋势。 China since the introduction of oil painting, watercolor, etc. Zhuzhong in the West to the performance of light-color-based painting kinds of means from the time when, to color transformation of a development of Chinese painting has become an inevitable trend. 不管这种改变潮涨潮落也罢，非驴非马也罢，但是事实已经证明，并且继续在证明这样一个很有说服力的现象：现当代的中国画大师都在其晚年发现了色彩――一种能与中国画笔墨起到更好补充而富于表现力的诗意化情感色彩所能带来的无可估量的前景。 Whether this change ebb and flow worth mentioning matter whether neither fish nor fowl, but the facts have proved and continue to prove that such a compelling phenomenon: modern and contemporary Chinese painting masters in their twilight years and found that the color - a can and Chinese ink painting has played a better complement to the poetry of expressive emotional colors can bring immeasurable prospects.
当然，中国绘画的色彩观与西方的光色观还存在着本质的差异，中国画所追求的不是逼真的自然模仿，而是以抽象的哲理和前瞻的视野去摄取自然界和社会生活中的色彩印象。 Of course, the concept of Chinese painting color light color view of the West, there are still differences in the nature of Chinese painting is not realistic to pursue a natural imitation, but rather abstract philosophy and forward-looking perspective to the intake of natural and social life of the color impression . 因此，中国画的色彩一如意象造型，具有那种不似之似的、强调理性情感与想象合一的装饰趣味。 Therefore, the Chinese painting style image of the color, as with that unlike the similar, emphasizing the unity of a rational emotion and imagination decorating taste. 它不再是像汉唐时期的传统色彩，仅仅注重固有色的明度和纯度；也不局限在有限的几种、十几种原色颜料，而是遵循色彩表现的共同规律，精心选择运用色彩的多样变化和冷暖色相交替运用的法则。 It is no longer the traditional colors like the Han and Tang period, just pay attention to the inherent lightness and purity of color; are not confined to the limited number, a dozen color pigment, but rather to follow the performance of the common law of color, well-chosen use of color variety of changes and the use of the rules of alternating cold and warm hue. 同样需要敏锐的色彩感觉和想象力的培养，学会把握墨作为黑色与众多色彩关系的调性、节奏、层次以及各种对比关系。 Also need a keen sense of color and imagination of the culture and learn to grasp the black ink as the relationship with many tonal colors, rhythm, hierarchy as well as various relativities. 既来源于生活某物象的自然色彩，又追求诗意化的表现、注入较多的主观情感意向色彩。 Both from a physical image of the natural colors of life, but also the pursuit of poetic performance, into the more subjective feelings of intent colors. 可以将绿色画成朱砂色或黑色、青色，可以将光照下的环境色任意改变为黑色、白色，甚至任何其他色彩。 Can be drawn into a cinnabar color of green or black, cyan, light of the environment can be arbitrarily changed color to black, white, or any other color. 一切为了需要，一切都出自主观灵府的直觉和想象。 All for the needs of everything from the government of subjective spiritual intuition and imagination. 中国绘画由色彩丰富走向素朴单纯，而由渲淡之极再复绚烂辉煌，这是历史的必然选择和未来中国画发展的必由之路。 Chinese Painting from the rich colors and simple into naive, but by the extreme light wash and then re-gorgeous brilliant, this is a natural choice of history and future of Chinese painting route to development.
假如我们把审美标准看作是一杆衡量作品的“尺”的话，那么，艺术创作就在于把握各种造型因素的“度”。 If we as an aesthetic standard measure of the work, "foot", then, lies in artistic creation, and all kinds of factors to grasp the "degree."
从观赏角度看作品的深度和艺术品位的醇度，通常是指作品内涵的容量和艺术技巧达到的境界。 From the view point of view works of art taste the depth and ripeness, usually refers to the work content of the capacity and skills to reach the realm of art. 然而这些只是可感却又难以语言叙说的东西，它显然包含思想，但远不止于思想；它强调技巧，却远不是单指技巧；它注重形式构成，却又超出单纯的形式构成意义。 However, these are only sensible thing would find it difficult language narrative, it clearly contains the idea, but much more than ideas; It emphasizes the skills, but it is far from being just the skill; its focus on the form of composition, but the composition of simple form above.
形式构成的魅力在于：它既是一目了然，而又非一览无余；它有状物特点，更有含义功能。 Form constitute the charm lies: it is clear at a glance, which is not a glance; it has a tilting features, more meaningful features. 它营造物象，诉诸视觉直观，同时又反映形而上的主观意念，诉诸思想和精神。 It is to create a physical image, resorting to the visual and intuitive, while reflecting the subjective metaphysical ideas, resorting to mind and spirit. 成功的绘画艺术必是内容、造型、色彩、形式诸要素完美结合的显现。 The success of the art of painting must be the content, shape, color, form the perfect combination of elements of the show. 支撑中国人物画造型结构的，也不外乎以上诸因素加上特殊的笔墨语言。 Modeling the structure of support for Chinese figure painting, but also nothing more than the above factors coupled with a special ink language. 然而就整体而言，哪怕具体到局部人物的意象造型和色彩处理，都不能不依附于一个基本框架。 But on the whole, even if a specific shape to local characters and color image processing, can not but attached to a basic framework. 这个框架就是作品的所谓形式构成。 This framework is the work of the so-called form of composition. 构成包含构图，但又高于构图的一般意义。 Composition contains the composition, but higher than the composition of the general meaning. 它是包括艺术整体构架的外延、张力、视觉冲击力等众多要素在内的综合体。 It is the overall framework including arts extension, tension, visual impact, and many other factors, including the synthesis.
绘画形式构成的目的，在于创造一种平面的视觉形式，把绘画的各种因素组织在一个统一有序、均衡的框架中，最大限度地发挥其表现性。 Painting the form of composition is intended to create a graphic visual form, the painting of various factors that organizations in a unified, orderly and balanced framework, to maximize its performance nature. 在有限的二维空间中，将作者的构思和掌握的形象素材，进行艺术化的整合配置，以达到能够产生最为强硬的冲击力和感染力的最佳方式。 In a limited two-dimensional space, the author's ideas and grasp the image of the material to carry out the integration of art configuration, in order to achieve can generate the most hard-line impact and the best way to appeal. 在观赏者尚未了解作品全部内容的细节和艺术处理时，第一眼便为作品的形式结构所吸引、所震慑，从而接受整体印象的信息输入。 Watching those who do not yet know all the details and the works of art dealing, at first glance it is attracted by the formal structure of the work, the shock and awe, thereby contributing to the overall impression of the information input. 因此，作品在进行构思构图阶段，艺术家必须倾注努力和智慧去开掘、发展形式构成中各个组成因素最佳的方式。 Therefore, the work stages of carrying out the idea of composition, the artist must have devoted efforts and wisdom to tap into the development of the form of the composition of the various elements of the best way. 那些缺乏形式构成的作品，犹如未加剪裁、梳理而自然松散的碎砂，虽造型精妙、色彩缤纷，也会因其先天缺憾而功亏一篑。 Works that lack the form of composition, as if not increase crop, comb and natural broken loose sand, although the modeling exquisite colors, also fell short of success because of its inherent shortcomings.
作品形式构成的基本要素，无非是点、线、形状……要将各种形状的点、线和体块拼接组合在同一平面空间中，需要艺术家具有一种较强的组控能力。 Works constitute the basic elements of the form, nothing more than point, line, shape, ... ... point to a variety of shapes, lines, and body mass splicing combinations in the same plane of space, you need to have a strong group of artist and control capability. 轻重疏密，大小倚重，聚散呼应，交错重叠；横平、竖直、弧形、圆形、梯形、三角形、多边形……需要配置得宜，根据作品的内容和构图加以有效的调度，以营造相得益彰的整体。 Light and heavy density, size, reliance on, parting echoed staggered overlap; horizontal level, vertical, curved, round, trapezoidal, triangular, polygon ... ... you need to configure properly, according to the content and composition of works to be effective scheduling in order to create a complementary whole. 一定的内容必定需要有与之相适应的形式构成，方能使内容得到充分完美的体现，形式构成意义的重要已使它成为内容的部分而不可轻视。 Will need to have a certain content in the form of corresponding composition, can the content be fully perfect embodiment of the composition of the form has made it an important part of the contents of which should not be underestimated.
中国古典绘画如同戏剧，具有很强的程式因素。 Chinese Classical Painting as drama, has a strong program elements. 大到整体的经营位置、章法结构，小至笔墨技法的勾染点皴，一一皆有成法。 As large as the overall operating position, the rules structure, small ink staining technique of hook point wrinkle 11 Jieyou into law. 后世的画家也均有所师承，即使创新也多脱胎于高度程式化技艺修炼。 Future generations of painters in both modeled after, even if the innovation more highly stylized art born out of practice. 元明清以后，笔墨几乎成了衡定一切绘画品位高下的标尺，却很少在探索艺术形式构成规律和特点的基础上有所突破，常见的人物画构图也多以平面铺张、交叉重叠，以及横向排列或纵向铺陈的办法表现，或者一两个人物，背景大片空白；或者密密匝匝、铺天盖地。 Yuan Ming and Qing dynasties after the ink seems to have become a constant grade of arch-competitor, ruler of all paintings, but rarely explored art forms constitute the basis of the laws and characteristics of a breakthrough, a common portrait composition did so flat extravagance, overlapping , as well as horizontal or vertical lay out ways to arrange the performance, or one or two people, large gaps in the background; or Mimizaza, overwhelming. 对于以三远法，散点透视见称，俯仰自得的中国写意式构图方式来说，理应具有十分自由的表现天地和任意选择的可能。 For the Three far law, scatter perspective, see that pitching contented way of Chinese freehand-style composition, the performance should be very free with heaven and earth, and the possibility of arbitrary choice. 但是高度程式化的中国画传统结构章法，已经形成了一套既定的框架。 But the highly stylized traditional structure of Chinese painting permissive, has formed a set of established framework. 后来的画家多半在这有限的经验的天地中翻筋斗，纵然历代都有胆大妄为、置传统于不顾之徒，但多招来一派非议，而当年的这些“突破”以今天的眼光来看，却实在有限。 Later, a painter mostly in this limited experience of heaven and earth in the tumbling, although ages are daring, set the expense of traditional believers, but the school of more than provoke criticism, but then these "breakthrough" to today's point of view, but it is is limited. 那些陈陈相因的构造章法，在历代和近现代的中国画、中国人物画中被反复沿用的情况仍屡见不鲜。 The construction of those tricks of routinization, in the ancient and modern and contemporary Chinese paintings, Chinese paintings have been repeatedly followed in the case is still not uncommon. 甚至举一反三，交错一下位置、结构形状，仍用同一套路表现之。 Even the lesson should be learned, staggered about location, structure, shape, still with the same performance of routines. 因此，同一画家的创作似曾相识、小异大同的现象随处见，直到今天依然如是。 Therefore, the same artist's creative looks familiar phenomenon of minor differences Datong see everywhere, until the remains so today. 不管作品与作品之间的题材内容具有怎么样的差异，但形式结构却一眼便可认出来自谁家手笔。 Works and works regardless of the content with how the subject matter between the kind of differences, but the form and structure are one from someone's handwriting can be recognized. 在某种意义上说，这当然与画家个人成熟的风格有关(这在山水、花鸟画中早已司空见惯)，但是在人物画则不然。 In a sense, of course, with the mature style of the individual artist (which in the landscape, bird-and has long been commonplace), but in the portrait is not. 不同题材、内容的作品因其所要求的形式感、情调和差异。 Different themes and content of works required in the form of its sense of mood and differences. 因此作品形式探究(包括技巧)的起点，相对来说应该都是零。 Therefore, the form of exploration work (including skills) the starting point, relatively speaking, should be zero. 个中的形式构成无法直接或间接地互相套用，不存在一种可供通借的既成形式(其实山水花鸟画何尝不是如此)，那种不问体裁、内容，不假思索，信手拈来，随处生发的绘画语言和表现形式，使用过多必然会陷于程式化、概念化而难以自拔，令观赏者感到索然乏味，而对于现代中国人物画来说，没有比程式化、概念化更糟糕的了。 In the form of a composition can not be applied directly or indirectly with each other, there is no pass through the de facto serve as a form (in fact, bird-landscape, so, too), do not ask the kind of genre, content, without hesitation, come in handy anywhere germinal painting language and expressions, the use of excessive inevitably caught in stylized, conceptualize and difficult to get away, to make the viewer feel Suoranfawei, but for modern Chinese paintings, there is no more than stylized, the conceptualization of the worse.
既然我们承认绘画作品内在的形式结构美对于吸引视觉注意力所具有的意义，那么我们也就承认了形式构成并不完全依靠作品的内容、造型描写和技法表现而具有独立的审美意义。 Since we recognize the paintings in the form of the inner structure of the United States for attracting the significance of visual attention, then we also constitutes a form of recognition is not entirely rely on the work content, shape description and performance techniques with independent aesthetic significance. 作品的形式构成可以通过线、形、色的配置组合，造成观赏的视觉节奏和视觉重心点，进而影响和打动观赏者的情绪感受。 Work in the form of composition can be line, shape, color configuration combinations, resulting in viewing visual rhythm and visual center of gravity point, and thus influence and impress the viewer's emotional feelings. 生理研究表明，生活中的人眼具有删繁取简、化零为整的调节功能和在瞬间感觉、辨认物象大体外形轮廓的功能。 Physiological studies have shown that life in the eye with a deletion fan to take Jane, a zero for the whole of the regulatory function and in an instant feeling of identification of object-image in general contour function. 因此，生活中物象存在的基本形式结构和外轮廓是诱导人的视觉运动变化的重要内容之一。 Therefore, there is life, the basic forms of physical image the structure and the outer contour is to induce changes in human visual motion an important part. 人眼所具有的对外界的敏锐反应，使得一束光、一级亮色和各种不同速度中运动的物体最先能起到诱导和吸引眼睛，转移注意力。 The human eye has a sharp reaction against the outside world, making a beam of light, a bright and a variety of objects moving at different speeds can play the first induction and to attract the eyes, to divert attention. 同时，人的视觉神经还对特异的形状、新颖的构造样式具有特别的觉察和感受力。 At the same time, the human optic nerve is also the shape of specific, innovative structural style is particularly aware of, and sensibility. 人们经由视觉观赏艺术作品，将信息传递给大脑中枢神经进行综合、分析处理，并作出相应的价值判断，或得到某种满足，或受到某种刺激。 People watching by the visual works of art, to pass information to the brain and central nervous system for synthesis, analysis and processing, and to make appropriate value judgments, or some sort of satisfaction, or subjected to some kind of stimulus. 人的视觉运动又不是循序渐进式的观察活动，而是有选择的跳跃式行为，视觉注意力从对某甲物到某乙物的转移、跳跃的经验，即是视觉的节奏。 Human visual motion are not a step-observation activities, but a jump of choice behavior, visual attention objects from the person A to person B is the transfer of objects, jumping experience, that is, the visual rhythm. 当视觉节奏的目标移动至具体某物，并且进而细加审视时，便形成了视觉的重心点。 When the visual target move to the rhythm of a specific thing, and then careful examination, they form a visual focus point. 对于绘画来说，视觉的重心点无疑是作品最为核心和精妙的部分，也是作品最具吸引力和感染力的部分。 For the painting, the visual center of gravity point is undoubtedly the work of the most sophisticated part of the core and also the works of some of the most attractive and appealing. 在通常情况下，艺术家是根据形式的一般规律进行艺术创造，当然，也有少数画家别裁巧构。 Under normal circumstances, the artist is based on the general law of the form of artistic creation, of course, there are a few artists do not cut clever structure. 但是不管艺术家以奇制胜，还是稳中求变，以多少见长，他们都不能打破形式对比关系中的均衡、和谐，并且必须在审美知觉反馈中获得相应一致的共感。 But no matter the artist surprising victory, or steady change to the number of known for, they can not break the balance of relations in the form of contrast, harmony, and must receive feedback from the aesthetic perception corresponded to a total sense. 只有在此时，形式构成的审美意义才得以显现，形式构成的全部才告完成。 Only in this case, constitute a form of aesthetic significance was able to appear, form constitute the entire complete.
那些新颖奇妙的作品意蕴都是经这一个程序显现出来的：即画面的形式构成本身并不具有特定的含义，而只具有和谐的抽象组合因素，通过意象造型的象征、隐喻传达出来。 Implications of these new works are wonderful a program through which emerged: that the screen in the form of composition in itself does not have a specific meaning, but only an abstract with a harmonious combination of factors that shape, through images, symbols, metaphors to convey them. 但是这种不具任何特定含义的线条、几何形状及色调，在观赏者眼中，都可能会引起一连串富有特别意义的联想。 But this does not have any specific meaning of the lines, geometric shapes and colors, in the eyes of the viewer, are likely to give rise to a series of special meanings associations. 画家的每一选择都可能被认为代表了一种特定的感受、一种特定的解释、一种特定的情调，代表着画家独一无二的创作心态。然而事实却可能都是，也可能都不是，画家的任务不是单纯地复现事物全貌，艺术作品的形式构成也无需复现世界的自然面貌。画家的任务在于突出事物最为本质、最为直接的形与色以及它的个性特征。由此而创造的鲜明形象将把观赏者的注意力引向生活中寻常或不寻常的某些事物，使观赏者能够玩味现实与艺术之间的巧妙关系，以及经过特别处理后造成的强烈效果，在想像中得到最大的参与和发挥，并循着各自的文化素养和思维去破译作品的含义。
现代生理学和心理学研究的结果还表明，平面有序的抽象形式构成能够引起人们的心理、生理反应。一点、一线、一形、一色的方正圆弧，长短疾徐、冷暖强弱都会引起有关快乐或抑郁的联想。因而，那些不具备特定含义的形式构成，都披罩上了一层情感的意象色彩。绘画中的抽象形式似乎隐藏在一切绘画形式的背后，即使是那些优秀的作品，也无不将具象的外形式与抽象的内形式巧妙地加以融合。只是有些较为直露，有些则含蓄隐晦罢了。
当然，艺术作品的形式构成又不是任意的。它毕意还不是一种由单纯的形状、点、线、色彩组成的任意形式，而画家某种观念、情绪以及个人审美趣味准确评价的最佳方式。同样，作品所选择的题材内容也不是任意和无足轻重的，它在作品与形式构成中相互依赖和配合，从而为主题提供了一个具体的视觉样式。当代艺术家对于形式构成的自觉探求，正是出于对绘画本质的把握。中国的人物画家只有在真正把握了形式构成的语言之后，才能使中国的绘画艺术更具有艺术冲击力和艺术竞争力。
