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周善平, 李林森. 泥人张彩塑的理论基础研究[J]. 安徽工业大学学报社会科学版, 2019, 36(6): 30-32. DOI: 10.3969/j.issn.1671-9247.2019.06.010
引用本文: 周善平, 李林森. 泥人张彩塑的理论基础研究[J]. 安徽工业大学学报社会科学版, 2019, 36(6): 30-32. DOI: 10.3969/j.issn.1671-9247.2019.06.010
ZHOU Shan-ping, LI Lin-sen. A Study on the Theoretical Basis of Painted Clay Figure Zhang[J]. Journal of Anhui University of Technology(Social Sciences), 2019, 36(6): 30-32. DOI: 10.3969/j.issn.1671-9247.2019.06.010
Citation: ZHOU Shan-ping, LI Lin-sen. A Study on the Theoretical Basis of Painted Clay Figure Zhang[J]. Journal of Anhui University of Technology(Social Sciences), 2019, 36(6): 30-32. DOI: 10.3969/j.issn.1671-9247.2019.06.010

泥人张彩塑的理论基础研究

A Study on the Theoretical Basis of Painted Clay Figure Zhang

  • 摘要: 彩塑是我国喜闻乐见的民间艺术,也是一门独特的造型艺术,历史悠久,文化底蕴浓厚。“六法”绘画理论和传神写照对泥人张的彩塑创作起到了重要作用。传神是彩塑的灵魂,在彩塑创作中应以传神为主线来指导创作过程。

     

    Abstract: Painted sculpture is not only a popular folk art in China, but also a unique formative art with a long history and rich cultural heritage. The painting theory of “six methods” and vivid depiction play an important role in the creation of painted clay figure Zhang. Being vivid is the soul of painted sculpture so that vividness should be taken as the main line to guide the creation of painted sculpture.

     

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