试论中国山水画空白之审美表现

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1、摘要空白是传统中国画画面特征之一，它与笔墨共同构成中国画的基本表现形式。空白需要画家的智慧，体现的是画家的心灵境界，它强调一种形式上化繁为简、以少胜多、以有限含无限的节制的美。历代国画大师往往都是留自的大师，方寸之地亦显天地之宽。空白显现出的是画面的骨格，气势与格调，甚至是画者的性灵。在画面中留有余地，往往能起到意到笔不到的效果。空白并非是一个新课题，历代画论对此多有论述。唐代张彦远就曾深入探讨过留白在画面中的独特作用，宋元时期留白更注重技法的实践。明清时期画评、画论步入繁荣，笪重光、王石谷、恽南

2、田等都曾对有画处与无画处、实景与空景的关系等进行了深入的研究。现代齐白石、黄宾虹等大家对中国画空白布局的实践更是达到了炉火纯青的境界，都曾对空白理论有过许多由感而发的精辟总结。本人通过对空白理论、技法的学习、研究与实践，试图从审美角度探寻画面空白形式美构成规律及空白之审美表现。论文论述了空白的形式语言特点，分析了画面空白美的形式构成，通过对中国山水画空白空间美的论述，总结出空白所创造的三种审美表现：虚实相生创造气韵美，容纳万物创造气象美，无中生有创造想象美。关键词：中国山水画空白审美表现形式构成A

3、BSTRACTBlankspace，whichisoneofthefeaturesintraditionalChinesepainting，togetherwithbrushandink,constitutesthebasicformcompositionofChinesepainting．Blankleavingdemandsintelligenceoftheartistandreflectsthespiritualrealmofthepainter．Itstressesakindofmoder

4、atebeautyinsimpleform．Chinesepaintingmastersinsuccessivedynastiesaregoodatusingblankspacetoexpressprofoundandsophisticatedmeaningonlimitedimagespace．Blankspacerepresentsthecharacteristicofthepictureandeventhespiritualityofthepainter,aswellasunexpected

5、effectsbeyondwhathasbeenpainted．Blankspaceisnotanewresearchproject．Thereisagreatamountofargumentonit．ZhangYanyuaninTangDynastyonceexploreddeeplytheuniquefunctionofblankleavinginimagespace，whereasinSongandYuanDynasty,thepracticeoftheskillswasemphasized

6、ontheresearchofblankleaving．InMingandQingDynasty,paintingcommentsbecameprosperous．DaChongguang，WangShiguandYunNantianstudiedtherelationshipbetweenthepictureandthemargin，thefactualviewandtheimaginaryview．Incontemporaryage，themasterssuchasQiBaishiandHua

7、ngHongbingotremarkableaccomplishmentsonblankspacelayoutinChinesepainting，andtheyalsomadepenetratingcommentsonblanktheory．ⅡTheauthortriestoexploretheprinciplesofblankformcompositioninimagespaceandtheaestheticexpressionofblankspacethroughthestudyandprac

8、ticeofblanktheoryandskills．Thepaperdissertatesformlanguagefeaturesofblankspace，analysestheformcompositionofblankbeautyinimagespace．Moreover,throughthedissertationofthebeautyofblankspaceinChineselandscapepainting，theauthordrawstheconclusionthat