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刘知白

刘知白的相关文献在2000年到2021年内共计72篇,主要集中在绘画、中国哲学、财政、金融 等领域,其中期刊论文72篇、专利文献18721篇;相关期刊22种,包括当代贵州、贵州文史丛刊、现代营销等; 刘知白的相关文献由24位作者贡献,包括刘剑、刘骁纯、王惠等。

刘知白—发文量

期刊论文>

论文:72 占比:0.38%

专利文献>

论文:18721 占比:99.62%

总计:18793篇

刘知白—发文趋势图

刘知白

-研究学者

  • 刘剑
  • 刘骁纯
  • 王惠
  • 叶澜
  • 吴海
  • 任红伏
  • 冯其庸
  • 刘知白
  • 叶康宁
  • 夏可君
  • 期刊论文
  • 专利文献

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    • 王彦彦
    • 摘要: 刘知白在《绘事杂谈之法守功化》这篇短文中不但提出了"法""守""功""化"四个习画历程,更对其一一进行了解释,言简意赅,通俗易懂,道尽了艺术学习的一般规律.
    • 董雷
    • 摘要: 绘画是艺术家个体情感的凝练与升华,是在不断对内心的求索和拷问中,对心性的具象呈现。在这个过程中,不同的艺术家有自我不同的表述方式,或理性,或冲动,或内敛,或勃发。但无一例外,一件好的作品,一定不是对物象简单的描摹,"图真"在照相术发明以后就已经渐渐远离了绘画的语言表述体系,而依托物象本体形态而表现出的艺术家的个性审美,才是赋予一件艺术品生命的内在原动力。
    • 叶澜
    • 摘要: 以传统的笔墨程式来表达山水意象,显然已经不是当下有胆魄、有思想的画家应有的艺术态度和文化担当了,因为中国画在现代文化境遇下一定要寻求自身的突破,无论是观念上还是技法的表现上,特别是面对我国不同境域山水(非传统意义上江南或北方)审美对象时,如何突破原有笔墨语言局限和惯常模式的束缚?如何在新的艺术情境下进行合理的“语言”转换时,有革新的画家更会直面历史与现实,在探索中披荆斩棘、奋然前行。而刘知白先生就是这么一位重要的画家,他晚年的破墨山水画在现当代山水画语言的开拓和图式革新等方面功不可没。而在他晚年的泼墨山水中,除了晴空下正常的山水之外,极具黔地山水特点的雨景、云景、雾景、月景等意象也尤为值得关注,本文正是结合这些意象,进一步探讨刘知白先生泼墨绘画的意象的丰富性和表现力。%With traditional pen and ink to express the landscape image, is clearly not the boldness and thought the painter should bear the attitude to art and culture, because of Chinese painting in the modern cultural situation must seek their breakthrough, on the expression of ideas and techniques, (especially in the face of the different realm landscape in south or north)non-traditional sense of aesthetic object, how to break through the constraints of original pen and ink language limitations and usual pattern?How under the new situation to carry on the reasonable transformation, the language with innovative artists will face the history and reality, in the exploration way, involve moving.And Liu Zhibai is such an important painter, his ink landscape painting in the modern and contemporary landscape painting schema language development and innovation, etc.Splash-ink landscape in his later years, besides the sky normal landscape, qian scenery characteristic extremely the rain scene, cloudland, fog scene, month view image is especially notable, it is combined with the image, this paper further discusses Liu Zhibai splash-ink painting imagery of richness and expressive force.
    • 刘剑
    • 摘要: 贵州在中国历史文化的中心与边缘这个二元格局中居于边缘地位,为贵州绘画中的野逸精神奠定了文化地理学基础。刘知白上承宋元绘画,下接明清绘画,主要承接的就是宋代美学最高诉求的逸格精神和逸笔语言,成为贵州地域艺术中野逸精神的最高代表,他一生的绘画艺术总体上经历了清逸、野逸到超逸三种境界。%in the dual structure with the center and the edge of Chinese history and culture,Guizhou is at the edge,which lays the foundation of cultural geography for the spirit of wild leisureliness in Guizhou painting. Liu Zhibai inherits a lot from the paintings in Song and Yuan dynasties as well as those in Ming and Qing dynasties, and mainly the leisurely style spirit and leisurely drawing language as the highest pursuit in Song aesthetics. He then becomes the top representative of the spirit of wild leisureliness in Guizhou regional art. He generally experiences three realms namely pure leisureliness,wild leisureliness and super leisureliness in his painting art throughout his life.
    • 程波涛
    • 摘要: 刘知白先生是现代山水画系中的一位隐士型画家,其泼墨山水取得的杰出成就,不仅在于笔墨语言和审美观念方面的突破,还在于图式构成中亦自成面目,深受美术界关注。刘知白具有极深的传统功力,他的艺术路子广阔,山水、花鸟俱佳,而且在诗与书法方面皆有造诣。值得一提的是,刘知白先生的指画在方法上延续了传统模式,但是却能融入画家个人情怀和时代精神,他擅长以极为简淡物象,抒写心志,表达如诗的山水意境,有着较高的研究价值。%Mr Liu Zhibai is a hermit painter of modern landscape paintingwho has made remailable achievement in ink landscape paintings.He has made great breakthrough not only in the ink language and aesthetic concept of the paintings,but also in the distinguished scheme constitutes,which has drawn wide attention of the art circles.Liu zhibai has a comprehesive command of the traditional skill,his artistic talent is broad,landscape,flowers or birds paiting are excellent.He is good at drawing simple figures,and poems arealso distinguished from his calligraphy.What is worthy mentioning is that Liu zhibai inherited the traditional model in his painting,but the artist's personal feelings and the spirit of the time was also integrated into his paintings.He is very good at expressing his artistic concept and presenting through the most simple and ordinary object image.The following thesis gives a focus describtion according to Liu zhibai’s artistic finger characteristics.
    • 无墨; 徐可芒
    • 摘要: 菲律宾南海仲裁案仲裁庭7月12日公布了所谓“最终裁决”。这一恶意裁决完全颠倒黑白,混淆是非。一时间爱同情绪在朋友圈中被点燃,刷屏后的朋友圈,满满都是红色的地图,没有经历战争的人们,低头握着手机,用言语冲锋,慷慨激昂。这样的示爱,高调,张扬,但若想撼动心灵,仿佛只有内敛,才更显深厚。
    • 夏可君
    • 摘要: 指画,在中国传统中有着它悠久的谱系,唐代张颜远所著《历代辊画记》就说道,当毕宏看到张璪作面唯用秃笔或以手摸素绢之时,便问其来历,张璨回答道:“外师造化,中得心源。”
    • 刘剑
    • 摘要: 通过走访著名书画家刘知白先生1971年被下放的黔中小镇洗马,在与自然山水的对话中探寻刘知白山水画作特别是黔山系列作品的内蕴,探寻洗马山水对于他从师法古人转向师法自然的重要性。本文以洗马镇的游历追寻刘知白先生的山水人生。
    • 摘要: 由中国美术家协会、贵州省文联、贵州省文史馆联合主办的已故泼墨大家刘知白纪念展“百年知白”,于2016年10月28日在中国美术馆开幕,此次展览接汇集了划知白作品200余幅。本次展览分为如莲化境、野竹翁师自然、白云心源三个部分。
    • 叶澜
    • 摘要: As one important master of splash-ink landscape painting, LIU Zhi-bai’ s works occupy a significant role in the innovation and pioneering of modern and contemporary Chinese landscape painting. The paintings in his mid-dle age demonstrated a process of learning from diverse schools and exploring vigorously with inspirations. It is also a great process of exploring landscape painting of Central Guizhou area and thus it can be stated this stage is a vital period for him to develop his own artistic style. It is helpful to understand the splash-ink landscape paintings in his later years and significant to explore the evolution of his painting concept and artistic changes by analyzing the works in his middle age.%刘知白先生是我国近代重要的泼墨山水画大家,他的作品在现当代山水画革新和开拓等方面都具有重要的地位。刘知白中年时期的绘画是广师百家和灵苗各探的过程,也是对于黔地山水写生实践和探索的主要过程,可以说这一时期是其艺术风格形成的重要时期,对其中年时期山水画的梳理,有利于深入剖析刘知白晚年泼墨山水画艺术,同时对于深入探讨他绘画观念的变化及其艺术变化的心路历程具有积极的意义。
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