從“隨類(lèi)賦彩”到“以色達(dá)意” 寫(xiě)意花鳥(niǎo)畫(huà)色彩功能的現(xiàn)代轉(zhuǎn)型
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Abstract： Intraditional freehand flowerand birdpainting，"color with kind"has long dominated the practiceof color， emphasizingthesymbolicatachmentof inherentcolors toobjects，andthefunctionof"color"islimited tothetransmission ofstylizedmeanngs，anditisdifficulttoarryindividualemotionsadonceptualexpresions.However，thislogicofolor designisbrokenwiththediverseaestheticneedsofcontemporarytimes：ontheonehand，thesymbolismof traditionalcolorsis dificulttomeethecomplexsiritualdemandsofmoderlife;Ontheotherhand，thetendencyofiteratipaintingto"emphasize ink overcolor" weakened the expresive power ofcoloras an independent language.Based onthis，if we wantto explore the moderntransformationof thecolor functionoffreeandflowerandbird painting，weneed toconstruct thelogicstarting from thebreakthroughandreconstructionofthetraditionalcolordesignsysteminthecontextofcontemporaryart，activatethelocal estheticgene withthepathof "colorandink fusion"，andseekthe methodologywiththeasistanceofWesterncolortheoryand cross-mediathinking，soas topromotethetransformationof"color"infreehandflowerandbirdpainting from"objectvassal"to "emotional symbol".
Keywords： Freehand Flower and Bird Painting;Color Symbolization;Cross-Media Innovation
0 引言
眾所周知，傳統(tǒng)寫(xiě)意花鳥(niǎo)畫(huà)中的“色彩”多依附于“隨類(lèi)賦彩”的物象再現(xiàn)原則，創(chuàng)作者往往固守傳統(tǒng)設(shè)色邏輯，或者僅僅是通過(guò)借鑒民間藝術(shù)的用色風(fēng)格等方法實(shí)現(xiàn)藝術(shù)語(yǔ)言的創(chuàng)新，從而導(dǎo)致寫(xiě)意花鳥(niǎo)畫(huà)陷入審美與傳播的雙重困境。（剩余4587字）