工笔马扇面 --- 郎世宁 PK 古人画马高手

[url=http://www.wenfangcn.com/viewthread.php?tid=17043&extra=page%3D1][size=5][color=#0000ff]即将完成的工笔马扇面[/color][/size][/url]，[size=5]21骨。[/size]

[[i] 本帖最后由 工笔马 于 2008-9-7 19:22 编辑 [/i]]

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不行，离党和人民的要求还差得很远。

很牛！！！:xzn

还没完成，不敢牛啊。

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照片不是用很清晰的，所以，看上去效果模糊些，看不到用笔细节。
没办法，防止仿真，不得为之。

照片不清楚    有点像西画  建议先学学古人的东西  如唐朝人画的马

[quote]原帖由 [i]画里悟道[/i] 于 2008-8-24 09:32 发表 [url=http://www.zgsflt.com/redirect.php?goto=findpost&pid=901755&ptid=52146][img]http://www.zgsflt.com/images/common/back.gif[/img][/url]
照片不清楚    有点像西画  建议先学学古人的东西  如唐朝人画的马 [/quote]

[size=6]郎世宁、马晋、赵佶不是古人？[/size]
[size=6]唐朝人韩干、李公麟等人画的马，比起郎世宁，可差远了。[/size]

[size=5]中国古代画马高手 PK  郎世宁:[/size]

[[i] 本帖最后由 工笔马 于 2008-9-7 19:19 编辑 [/i]]

[size=4][size=5]近年来，国外开始注意到在两岸故宫里的郎世宁作品。[/size]
The influence of Castiglione’s style
Before the arrival of Castiglione, the traditional Chinese brush paintings were already classified into Yu yi style and Guon Pe style. Yu Yi ( translated as "at will" ) style paintings were improvised by the painter who used simple strokes to express the spirit and characteristics of the subject. This style of paintings usually typified by relatively faster strokes and the artist’s ability to express the highlight or characteristic form of the subject, but details were clearly not in their minds. There are usually plenty of blank surfaces relative to the painted surfaces in the Yu Yi style brush paintings. In contrast, the Guon Pe ("detail work") style paintings stressed on details and colors. For the execution of this style of paintings, position layouts were a norm and they generally required a lot of time, patience and planning. With few exceptions, even the Guon Pe style paintings in the pre-Castiglione era showed rather dull colors and very little perspective to speak of. Perhaps without exaggerations, the Guon Pe style paintings of post-Castiglione era could be benefited most from Castiglione’s influence.
The various painting techniques which were so essential in executing superb western paintings at the time of Castiglione’s arrival in China were generally lacking in the traditional Chinese brush paintings. These techniques include the proportioning, the Chiaroscuro (the shade and shadowing ) as well as gradual blending of colors are imperative to present the three-dimensional effect .
Prime examples of Chinese brush paintings of the Tang Dynasty already testified the Chinese brush painting artists could produce mature forms and were capable of producing very exquisite forms of human figures and horses. The absence of the elements which were indispensable in rendering the paintings more perspective and real, denied these Chinese paintings of Castiglione era, the one dimension and status which they deserved.[/size]

和照相机相比如何

照相机难以相比。

照相机和绘画并存了100多年，今天还拿两者相比，令人好笑。
绘画的写实技巧，如今是绘画的最基本，也是最高妙的技法，相机不可能做到绘画那样，产生大脑的思考和画笔处理。绘画的写实，看起来比真实的更真实，更能打动人、更具有感染力。
看起来特别象照片的写实风格的作品，是任何再精致再高级再昂贵的相机也拍不出来滴。
----------   以上是小学美术课本上的常识。

绘画发展到今天还以写实自诩，实在不明白，特别是中国画以写实自诩，就令人更不明白了。

我们的祖先早就用以下几种划分来明确画作的高下：
              能把眼前之所见原模原样制作于纸（或其他承载物）上者为“匠”，所画不入“能品”。
              能把眼前之所见取其形貌，而以讲求之“笔墨”写于纸（或其他承载物）上者为“技”，所画不入“精品”。
              能把眼前之所见加以变化，而又不失其特征，再以精练之“笔墨”现于纸（或其他承载物）上者为“艺”，所画最多可入“妙品”。
              把眼前之所见取其“骨气韵致”，而以“似与不似”之象出于纸（或其他承载物）上者为“术”，所画方可进入“神品”。
              纯粹以“人格精神”化，而借物象又能“物我两化”再寄于纸（或其他承载物）上者为“化”，所作才可称为“逸品”。