| 中国古代雕塑是意象性的，注重“以形写神” |
| 添加时间：2019/12/31 13:56:21 浏览次数： |
| 中国古代雕塑是意象性的，注重“以形写神”，也象中国绘画一样，注重头部的刻划。中国古人认为“头者精明之主也”。（《黄帝素问》）“头者，神所居，上圆象天。”（《春秋元命苞》）从原始时代起，人面或人头，在工艺装饰中就受到特别重视，这应是中国古代造型艺术发展为特别重视传神的原因之一。 Ancient Chinese sculpture is imagery. It pays attention to "depicting God in form" and the head like Chinese painting. The ancient Chinese believed that "the head is the master of shrewdness". (Huangdi Suwen) "the head, where the God lives, looks like the sky." (spring and autumn and Yuan Ming Bao) since the primitive times, human face or human head has been paid special attention to in the process of decoration, which should be one of the reasons why ancient Chinese plastic arts developed to pay special attention to the transmission of spirits. 这种重视贯穿了几千年，直到今天，在民间雕塑和农民画中，头部仍是艺术家首要表现的部分。头部以外的人体部分，便被看作是从属的，较为次要的。这样，在中国古代雕塑和绘画中，头大身小逐渐变成一种习惯造型（这一点在明代中原地区的佛造像表现得最为明显，俗称“大头佛”），一旦头身关系处理不好，在视觉上便难免造成不舒服的特点，这是不必为古人护短的。 This kind of attention has lasted for thousands of years. Until now, in folk sculpture and peasant painting, the head is still the primary part of the artist's performance. The part of the human body outside the head is regarded as subordinate and less important. In this way, in ancient Chinese sculpture and painting, the head, big body and small body gradually become a kind of habitual shape (this is most obvious in the Buddha statues in the Central Plains of Ming Dynasty, commonly known as "big head Buddha"). Once the head body relationship is not handled well, it will inevitably cause uncomfortable characteristics in the vision, which is not necessary to protect the ancients. |
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