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shu ke zou ma , mi bu tong feng chuan tong xing shi fa ze de xian dai yi yi chan shi
Author(s): 
Pages: 44-45
Year: Issue:  2
Journal: Decoration

Keyword:  现代意义传统形式视觉效果中国绘画对比因素点睛之笔《阿Q正传》书法艺术人体虚实相生;
Abstract: 在我国古代画论中有“疏可走马,密不通风”一说,就是要求在画面上,有的地方要密,有的地方要留出大片空白,造成对比。关于疏密的论述,在我国古代书论、画论中举不胜举“疏密”作为艺术中一对辩证的矛盾,正如人们对笔墨的认识一样,锋有正侧、墨有浓淡、笔有方圆。如在书法中,随着时代的发展、字体的演变,书法艺术自身的成长,关于二者的论述就有许多“作字之体,便遵正法,字之形势不得上宽下窄,不宜伤密,密则疴痒缠身,复不宜伤疏,疏则似溺水之禽。”(王羲之《笔势论十二章》)“字不欲疏,亦不欲密,亦不欲大,亦不欲小,小长令大,大蹙令小,疏肥令密,密瘦令疏,斯莫大径奚”。徐浩《论书》中讲求平正、疏密匀停为佳。到清代邓石如
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