东方绘画语言立场研究
Research on the Linguistic Stance of Eastern Painting
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초록
东方绘画语言观念力求形式意象表述，平面式样的语言本质呈现了线性框架的典型特征，时代进化的语言体认需要扩大形式发挥及观念革新，文章中以当代中国绘画语言立场作为研究中心，立足东方神韵的形式理想，梳理时局观念中形式可变的综合语言，提示抽象形式的语言内因及发挥余地。立足前人研究的基础上，运用文献研究法、图像分析法、比较研究法等研究方法，首先明确东方绘画的语言本质及独立形式，立足语言基因发现东方式样其他画法的语言参照，认为细密画与浮世绘卷作为与中国绘画同源的语言方式，基本语言结构类似但形式理解不同，在形式设计与空间表现两方面给与借鉴思考。在深化认同当代中国绘画语言立场的基础上，扩大形式革新深度，比对现代东西方绘画的形式做法，补益东方绘画线性认知与空间理解，认为东方形式意象的语言立场并非唯一独立线性的封闭形式，对线的灵活体用，对空间的观念延伸，是在三维语言范式中汲取的关键因素，并探索当代综合语言的形式实验，充分发挥空间环境及材料媒介的语言突破，深化新时代东方绘画形式理想的语言格局。
Abstract
The language concept of Eastern painting strives for the expression of formal imagery. The essence of the flat style language presents the typical characteristics of a linear framework. The language recognition of the evolution of The Times requires the expansion of formal expression and conceptual innovation. This article takes the language position of contemporary Chinese painting as the research center, based on the formal ideal of the Oriental charm, and sorts out the comprehensive language with variable forms in the concept of the current situation. Hint at the internal causes and room for development of abstract forms in language. Based on previous research, by applying research methods such as literature review, image analysis, and comparative study, the language essence and independent form of Eastern painting are first clarified. By leveraging the language genes, language references for other painting techniques in Eastern styles are discovered. It is believed that miniature paintings and ukiyo-e scrolls, as language forms that share the same origin as Chinese painting, have similar basic language structures but different forms of understanding. Provide reference and reflection in both form design and spatial expression. On the basis of deepening the recognition of the language stance of contemporary Chinese painting, the depth of formal innovation is expanded. By comparing the formal practices of modern Eastern and Western paintings, the linear cognition and spatial understanding of Eastern painting are supplemented. It is believed that the language stance of Eastern formal imagery is not the only independent linear closed form. The flexible application of lines and the extension of spatial concepts It is to draw on the key factors from the three-dimensional language paradigm and explore the formal experiments of contemporary comprehensive language, give full play to the language breakthroughs of spatial environment and material media, and deepen the ideal language pattern of the new era's Oriental painting form.