山水画的空白与风景画的模糊——中西美术空间异同之辩

On different space expressions of Chinese painting and western painting

中国山水画与欧洲风景画在表现空间上除了近大远小与透视等方式外,还用其它方式表现空间。其中之一是山水画利用空白产生空间,这种空间仍然是在二维平面上展开的,同时又作为虚实来看待,并使山水画的意境新奇别致,虚实相生皆出妙境;风景画则是利用模糊构成一种三维的视觉空间,体现一种远的感觉,使风景画更符合视觉的真实,同时也产生一种玄妙的新境而高于对象。“空白”与“模糊”是构成山水画与风景画空间的重要符号,本质不尽相同,但似乎又都是对具体对象的弱化的表现手段而作空间的表达方式。

Besides the common expressions of space in Chinese landscape painting and European scenery painting, there are also some different methods. One of them is to express space with blank in Chinese landscape painting. This space is also regarded as reference of reality so as to make the artistic conception of landscape painting novel and special. In contrast, western scenery painting makes use of blur to constitute a vision of three-dimensional space, producing the effect of distance and making the painting close to visual reality. Blank and blur are important signals of Chinese landscape painting and western scenery painting respectively. Though different in nature, the two methods are employed to express space as a means of weakening the specific objects in painting.