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资料逐步完善中。建议反馈邮箱:[email protected]
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李可染先生水墨中的“光”

发表日期:2016-11-17   分享到:

    在用光方面,李可染先生富有创造性和开拓性。将光引入画面,尤其是将夕阳中逆光的明亮光影移入中国山水画之中,可染先生可谓是第一人。他善于呈现山林晨夕间的亮光,以及真山水中令人沉醉的逆光景象,使作品具有一种流光徘徊的效果,这形成了其作?#36820;?#29420;特风格。
 
    二十世纪五十年代之后,可染先生在深入自然写生的过程中,已开始探索山水画中“光”与“墨”的变幻。
 
    暮色黄昏中的魏玛大桥,画面捕捉?#25628;?#20809;穿过树林的光感,似乎采用的是西画的视觉,而实际上整幅作品还保持着中国画的用笔和意境。
 
   《阳朔木山村渡头》为可染先生最早的逆光山水之一,前山较亮,中山较暗,远山为灰——这成为可染先生在用光方面的创造。房屋、水面成为画面的高光部分,“挤”到了最小空间,也愈见其明亮惊?#36873;?/div>
 
    画山水,这地方亮点,那地方暗点,这就是明暗。有明暗,是由于光的作用……黄宾虹先生有句话,叫做“画中有龙蛇”,这是因为自然界的石头是有凸?#35760;?#25240;的,中国讲究下笔便有?#32426;?#20043;形。这种?#32426;?#26354;折在光线的照射下,就必然有龙蛇蜿蜒的感觉。他还说,在很黑的地方有一点点亮就通了,这也是由于光的作用。
——李可染
 
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