| 中国画与现代构成 |
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| 引用本文： | 高定昆.中国画与现代构成[J].镇江高专学报,2005,18(3):98-100. |
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| 作者姓名： | 高定昆 |
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| 作者单位： | 扬州职业大学艺术系,江苏扬州225002 |
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| 摘 要： | 中国画发展至今已形成一套完整、系统的笔墨形式和创作模式.继承与创新、扬弃与借鉴是发展中国画艺术的一个基本态度.研究中国画的传统技法和符号程式,分析西方现代构成的原理,突破界限,变通的并融合西方现代构成法则,从而丰富和完善中国画的艺术语言.运用新思想、新观念、新材料、新工艺,使中国画的创作在传统的形式上有新的发展,呈现崭新的面貌.
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| 关 键 词： | 中国画 现代构成 融合 表现 |
| 文章编号： | 1008-8148（2005）03-0098-03 |
| 收稿时间： | 01 4 2005 12:00AM |
| 修稿时间： | 2005-01-04 |
Chinese painting and modern structure |
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| GAO Ding-kun.Chinese painting and modern structure[J].Journal of Zhenjiang College,2005,18(3):98-100. |
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| Authors: | GAO Ding-kun |
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| Institution: | Arts Department, Yangzhou Vocational College, Yang Zhou 225002, China |
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| Abstract: | Chinese painting has developed into a systematic model. Inheritting and innovating, abandoning and borrowing are the basic attitudes toward the art of Chinese painting. Chinese traditional skills in painting are analyzed while western modern structure is studied so that different styles of painting can be combined and a new style will be embodied in Chinese traditinal painting. |
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| Keywords: | Chinese painting modern structure combination embodying |
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