国画•线描技法

山石

<p style="text-align: center;">💖💖💖</h3> <h3><span style="color: rgb(34, 34, 34); font-family: &quot;PingFang SC&quot;, &quot;Hiragino Sans GB&quot;, &quot;Microsoft YaHei&quot;, &quot;WenQuanYi Micro Hei&quot;, &quot;Helvetica Neue&quot;, Arial, sans-serif; font-size: 16px; letter-spacing: 0.8976px; white-space: normal;">线描--中国画的主要造型手段。线描是运用线的轻重、浓淡、粗细、虚实、长短等笔法表现物象的体积、形态、质感、量感、运动感的一种方法。特点简练、清晰,可刻画各种现象。在中国绘画中,线描既是具有独立艺术价值的画种(白描),又是造型基本功的锻炼手段,还是工笔画设色之前的工序过程。线描不仅可以勾画静态的轮廓还可以表现动态的韵律。用线和空白还可以谱写出一支支和谐流动的线的协奏曲。</span><br></h3> <p style="margin-top: 16px; margin-bottom: 16px; max-width: 100%; clear: both; min-height: 1em; letter-spacing: 0.8976px; white-space: normal; color: rgb(34, 34, 34); font-family: &quot;PingFang SC&quot;, &quot;Hiragino Sans GB&quot;, &quot;Microsoft YaHei&quot;, &quot;WenQuanYi Micro Hei&quot;, &quot;Helvetica Neue&quot;, Arial, sans-serif; font-size: 16px; overflow-wrap: break-word !important;">中国历代画家对线有着深刻的认识和高超的创造,他们用千姿百态的线,抒发情感,描绘自然,使"线"在艺术作品中有独特的魅力。线描也叫白描,即单纯的用线画画,在线描中线条可以有许多变化,如长短、粗细,曲直、疏密、轻重、刚柔和有韵律等。线描写生要注意把物象的前后遮挡关系表现正确,一般来讲,在画面中近处物体的基线应比远处物体的基线低。为了更好地表现出线条的美感,我们在写生中不能看到什么就画什么,应该通过比较和感受进行有目的地取舍与提炼、加工。常用的线条有直线、弧线、曲线和折线。</h3><p style="margin-top: 16px; margin-bottom: 16px; max-width: 100%; clear: both; min-height: 1em; letter-spacing: 0.8976px; white-space: normal; color: rgb(34, 34, 34); font-family: &quot;PingFang SC&quot;, &quot;Hiragino Sans GB&quot;, &quot;Microsoft YaHei&quot;, &quot;WenQuanYi Micro Hei&quot;, &quot;Helvetica Neue&quot;, Arial, sans-serif; font-size: 16px; overflow-wrap: break-word !important;">以线造型是中国传统绘画的特色,不管是人物画,还是山水画、花鸟画,都少不了以线勾勒物象。古代画家把各种线描形式概括成十八种技法,称“十八描 ”,作为基本程式用于传授线描技法。当然,十八描并不仅仅是人物画的基本画法,同样也是花鸟画的基本技法。</h3> <h1 style="text-align: center;"><span style="font-family: &quot;PingFang SC&quot;, &quot;Hiragino Sans GB&quot;, &quot;Microsoft YaHei&quot;, &quot;WenQuanYi Micro Hei&quot;, &quot;Helvetica Neue&quot;, Arial, sans-serif; font-size: 16px; font-weight: 700; letter-spacing: 0.8976px; white-space: normal;"><font color="#ed2308">工笔画——十八描</font></span></h1> <p style="text-align: center;"><span style="font-family: &quot;PingFang SC&quot;, &quot;Hiragino Sans GB&quot;, &quot;Microsoft YaHei&quot;, &quot;WenQuanYi Micro Hei&quot;, &quot;Helvetica Neue&quot;, Arial, sans-serif; font-size: 16px; font-weight: 700; letter-spacing: 0.8976px; white-space: normal;"><font color="#167efb">【游丝描】</font></span><br></h3> <h3><span style="color: rgb(34, 34, 34); font-family: &quot;PingFang SC&quot;, &quot;Hiragino Sans GB&quot;, &quot;Microsoft YaHei&quot;, &quot;WenQuanYi Micro Hei&quot;, &quot;Helvetica Neue&quot;, Arial, sans-serif; font-size: 16px; letter-spacing: 0.8976px; white-space: normal;">游丝描又叫高古游丝描,其线条纯用尖圆匀齐之中锋笔尖画出,有起有收,流畅自如,显得细密绵长,富有流动性,画人物如春蚕吐丝,后人也称之为“春蚕吐丝描 ”。顾恺之的《洛神赋图》、《女史箴图》所运用的线条,连绵不断,悠缓自然,具有非常均和的节奏感,被认为是典型的游丝描。后来,曹仲达、李公麟、赵孟頫等人画中的线条,也属这类线描形式。<b>这种平滑、圆润、流畅、舒展的描法,适合于表现文人学士、贵族妇女、仕女形象等。</b></span><br></h3> <p style="text-align: center; margin-top: 16px; margin-bottom: 16px; max-width: 100%; clear: both; min-height: 1em; letter-spacing: 0.8976px; white-space: normal; color: rgb(34, 34, 34); font-family: &quot;PingFang SC&quot;, &quot;Hiragino Sans GB&quot;, &quot;Microsoft YaHei&quot;, &quot;WenQuanYi Micro Hei&quot;, &quot;Helvetica Neue&quot;, Arial, sans-serif; font-size: 16px; overflow-wrap: break-word !important;"><span style="max-width: 100%; font-weight: 700; overflow-wrap: break-word !important;">【铁线描】</span><span style="font-weight: 700; letter-spacing: 0.8976px;">  </span></h3><p style="margin-top: 16px; margin-bottom: 16px; max-width: 100%; clear: both; min-height: 1em; letter-spacing: 0.8976px; white-space: normal; color: rgb(34, 34, 34); font-family: &quot;PingFang SC&quot;, &quot;Hiragino Sans GB&quot;, &quot;Microsoft YaHei&quot;, &quot;WenQuanYi Micro Hei&quot;, &quot;Helvetica Neue&quot;, Arial, sans-serif; font-size: 16px; overflow-wrap: break-word !important;">用中锋圆劲之笔描写,丝毫不见柔弱之迹,其起笔转折时稍微有回顿方折之意,如将铁丝环弯,圆匀中略显有刻画之痕迹。在顾恺之、阎立本、李公麟、武宗元等人的作品中,都有“铁线描”的特徵。<span style="letter-spacing: 0.8976px;">  </span></h3><p style="margin-top: 16px; margin-bottom: 16px; max-width: 100%; clear: both; min-height: 1em; letter-spacing: 0.8976px; white-space: normal; color: rgb(34, 34, 34); font-family: &quot;PingFang SC&quot;, &quot;Hiragino Sans GB&quot;, &quot;Microsoft YaHei&quot;, &quot;WenQuanYi Micro Hei&quot;, &quot;Helvetica Neue&quot;, Arial, sans-serif; font-size: 16px; overflow-wrap: break-word !important;">唐代阎立本的《历代帝王图》中,服饰都用中锋细笔勾勒,顿起顿收,笔势转折刚正,如以锥镂石,唤起挺劲有力之感。它体现了书法用笔中的遒劲骨力。这种描法是古代画家表现硬质衣料的重要技法。</h3> <p style="text-align: center; margin-top: 16px; margin-bottom: 16px; max-width: 100%; clear: both; min-height: 1em; letter-spacing: 0.8976px; white-space: normal; color: rgb(34, 34, 34); font-family: &quot;PingFang SC&quot;, &quot;Hiragino Sans GB&quot;, &quot;Microsoft YaHei&quot;, &quot;WenQuanYi Micro Hei&quot;, &quot;Helvetica Neue&quot;, Arial, sans-serif; font-size: 16px; overflow-wrap: break-word !important;"><span style="max-width: 100%; font-weight: 700; overflow-wrap: break-word !important;">【琴弦描】</span><br style="max-width: 100%; overflow-wrap: break-word !important;"></h3><p style="margin-top: 16px; margin-bottom: 16px; max-width: 100%; clear: both; min-height: 1em; letter-spacing: 0.8976px; white-space: normal; color: rgb(34, 34, 34); font-family: &quot;PingFang SC&quot;, &quot;Hiragino Sans GB&quot;, &quot;Microsoft YaHei&quot;, &quot;WenQuanYi Micro Hei&quot;, &quot;Helvetica Neue&quot;, Arial, sans-serif; font-size: 16px; overflow-wrap: break-word !important;"><span style="letter-spacing: 0.8976px;">与高古游丝描属同一类型的描法,中锋悬腕用笔,画出的线条比高古游丝描更为粗劲而有韧性,宛若中国古代弹拨乐器的丝弦,五代周文矩擅用此法。为了强调柔软的丝绸质地的衣纹和垂直飘摆时的姿态,在行笔过程中运用中锋缓慢画出,其线型平直、挺拔,其目的是为了较写实地表现出丝裙的衣褶。</span><span style="letter-spacing: 0.8976px;"> </span></h3><p style="margin-top: 16px; margin-bottom: 16px; max-width: 100%; clear: both; min-height: 1em; letter-spacing: 0.8976px; white-space: normal; color: rgb(34, 34, 34); font-family: &quot;PingFang SC&quot;, &quot;Hiragino Sans GB&quot;, &quot;Microsoft YaHei&quot;, &quot;WenQuanYi Micro Hei&quot;, &quot;Helvetica Neue&quot;, Arial, sans-serif; font-size: 16px; overflow-wrap: break-word !important;">如张萱的《捣练图》、周的《挥扇仕女图》、《调琴啜茗图》中的衣纹裙带的线条,正是琴弦描的典范。有时画家为了加强某些裙裾部分的重量感,在行笔过程中用笔颤动,结果线条状似蓴菜,起到了强化线条粗细变化的作用。</h3> <p style="text-align: center; margin-top: 16px; margin-bottom: 16px; max-width: 100%; clear: both; min-height: 1em; letter-spacing: 0.8976px; white-space: normal; color: rgb(34, 34, 34); font-family: &quot;PingFang SC&quot;, &quot;Hiragino Sans GB&quot;, &quot;Microsoft YaHei&quot;, &quot;WenQuanYi Micro Hei&quot;, &quot;Helvetica Neue&quot;, Arial, sans-serif; font-size: 16px; overflow-wrap: break-word !important;"><span style="max-width: 100%; font-weight: 700; overflow-wrap: break-word !important;">【行云流水描】</span><span style="font-weight: 700; letter-spacing: 0.8976px;">  </span></h3><p style="margin-top: 16px; margin-bottom: 16px; max-width: 100%; clear: both; min-height: 1em; letter-spacing: 0.8976px; white-space: normal; color: rgb(34, 34, 34); font-family: &quot;PingFang SC&quot;, &quot;Hiragino Sans GB&quot;, &quot;Microsoft YaHei&quot;, &quot;WenQuanYi Micro Hei&quot;, &quot;Helvetica Neue&quot;, Arial, sans-serif; font-size: 16px; overflow-wrap: break-word !important;">此描法宜中锋用笔,笔法如行云流水,活泼飞动,有起有倒。此法以李公麟的描法最为典型。元代汤垕《画鉴》中说:“(李伯时)惟临摹古画用绢素著色,笔法如行云流水,有起倒。”如李公麟的《免胄图》,迎风招展的旗帜和土兵身上软质的罩衫,线条流畅,笔意清新,如行云流水,舒卷自如。又如他的《维摩演教图》,所画人物的衣纹线条如行云流水,加上画中墨色浓淡的变化,使画中人物表现出圣洁出尘的风采。</h3> <p style="text-align: center; margin-top: 16px; margin-bottom: 16px; max-width: 100%; clear: both; min-height: 1em; letter-spacing: 0.8976px; white-space: normal; color: rgb(34, 34, 34); font-family: &quot;PingFang SC&quot;, &quot;Hiragino Sans GB&quot;, &quot;Microsoft YaHei&quot;, &quot;WenQuanYi Micro Hei&quot;, &quot;Helvetica Neue&quot;, Arial, sans-serif; font-size: 16px; overflow-wrap: break-word !important;"><span style="max-width: 100%; font-weight: 700; overflow-wrap: break-word !important;">【蚂蝗描】</span></h3><p style="margin-top: 16px; margin-bottom: 16px; max-width: 100%; clear: both; min-height: 1em; letter-spacing: 0.8976px; white-space: normal; color: rgb(34, 34, 34); font-family: &quot;PingFang SC&quot;, &quot;Hiragino Sans GB&quot;, &quot;Microsoft YaHei&quot;, &quot;WenQuanYi Micro Hei&quot;, &quot;Helvetica Neue&quot;, Arial, sans-serif; font-size: 16px; overflow-wrap: break-word !important;">又称兰叶描,为唐代著名人物画家吴道子所创,线条粗细变化不可穷诘,以表现“高侧深斜,卷褶飘带之势”,是吴道子在顾恺之等人“铁线描”的“密体”风格基础上实现的独特创造。他把狂草的用笔变为人物画造型的新方法,在轻重提按中体现线条的变化,在疏密随意中显生动,有如飘曳的兰叶一般,表现人物的风姿飘逸,世称“吴带当风”。如宋代佚名画家的《送子天王图》,继承吴风,衣纹用笔粗简,劲力流畅,顿挫宛转,兼具写意笔法,在疏密随意中显生动,表现了画中天神、天女、武将、力士内在的精神力量。</h3> <p style="text-align: center; margin-top: 16px; margin-bottom: 16px; max-width: 100%; clear: both; min-height: 1em; letter-spacing: 0.8976px; white-space: normal; color: rgb(34, 34, 34); font-family: &quot;PingFang SC&quot;, &quot;Hiragino Sans GB&quot;, &quot;Microsoft YaHei&quot;, &quot;WenQuanYi Micro Hei&quot;, &quot;Helvetica Neue&quot;, Arial, sans-serif; font-size: 16px; overflow-wrap: break-word !important;"><span style="max-width: 100%; font-weight: 700; overflow-wrap: break-word !important;">【钉头鼠尾描】</span></h3><p style="margin-top: 16px; margin-bottom: 16px; max-width: 100%; clear: both; min-height: 1em; letter-spacing: 0.8976px; white-space: normal; color: rgb(34, 34, 34); font-family: &quot;PingFang SC&quot;, &quot;Hiragino Sans GB&quot;, &quot;Microsoft YaHei&quot;, &quot;WenQuanYi Micro Hei&quot;, &quot;Helvetica Neue&quot;, Arial, sans-serif; font-size: 16px; overflow-wrap: break-word !important;">落笔处如铁钉之头,线条呈钉头状,行笔收笔,一气拖长,如鼠之尾,所谓头秃尾尖,头重尾轻。如宋代李嵩的《货郎图》和《市担婴戏图》中的衣纹线条,採用中锋劲利的笔法,线形前肥后锐,形同钉头鼠尾。宋代武宗元的《朝元仙仗图》,用笔凝重,刚劲简放,衣纹转折流动自如,充分发挥了线条的表现力和装饰性,所画天王、力士、仙女皆显现出人情世态。清代画家任伯年也非常喜欢用这种描法来表现其用笔的豪爽奔放,体现了写意的风格特徵,如他的《人物图》也充分体现了钉头鼠尾描的特点。</h3> <p style="text-align: center; margin-top: 16px; margin-bottom: 16px; max-width: 100%; clear: both; min-height: 1em; letter-spacing: 0.8976px; white-space: normal; color: rgb(34, 34, 34); font-family: &quot;PingFang SC&quot;, &quot;Hiragino Sans GB&quot;, &quot;Microsoft YaHei&quot;, &quot;WenQuanYi Micro Hei&quot;, &quot;Helvetica Neue&quot;, Arial, sans-serif; font-size: 16px; overflow-wrap: break-word !important;"><span style="max-width: 100%; font-weight: 700; overflow-wrap: break-word !important;">【混描】</span></h3><p style="margin-top: 16px; margin-bottom: 16px; max-width: 100%; clear: both; min-height: 1em; letter-spacing: 0.8976px; white-space: normal; color: rgb(34, 34, 34); font-family: &quot;PingFang SC&quot;, &quot;Hiragino Sans GB&quot;, &quot;Microsoft YaHei&quot;, &quot;WenQuanYi Micro Hei&quot;, &quot;Helvetica Neue&quot;, Arial, sans-serif; font-size: 16px; overflow-wrap: break-word !important;">以淡墨皴衣纹加以浓墨混成之,故名。描绘对象的衣服时,往往先用淡墨劲笔勾画出衣服的纹路轮廓,再用较深的墨色结合线面来破染,形成墨色层次的变化。实际上要表现的已经是色块和线条之间的处理关系,而非仅仅是单纯的线条用笔问题。如清代闵贞的《八子观灯图》,其画法是先以淡墨勾勒成形,人物的衣纹线条层层交叠,最后用浓墨醒之,这种方法也是一般画家经常在起稿时使用的方法。有时,先用淡墨勾线成形,继而用浓墨醒之,最后用赭石在原来墨线或周围进行醒笔,这样既加强了线的随意性,也增添了线的浑厚感及线的形式美感。</h3> <p style="text-align: center; margin-top: 16px; margin-bottom: 16px; max-width: 100%; clear: both; min-height: 1em; letter-spacing: 0.8976px; white-space: normal; color: rgb(34, 34, 34); font-family: &quot;PingFang SC&quot;, &quot;Hiragino Sans GB&quot;, &quot;Microsoft YaHei&quot;, &quot;WenQuanYi Micro Hei&quot;, &quot;Helvetica Neue&quot;, Arial, sans-serif; font-size: 16px; overflow-wrap: break-word !important;"><span style="max-width: 100%; font-weight: 700; overflow-wrap: break-word !important;">【橛头钉描】</span><span style="font-weight: 700; letter-spacing: 0.8976px;">  </span></h3><p style="margin-top: 16px; margin-bottom: 16px; max-width: 100%; clear: both; min-height: 1em; letter-spacing: 0.8976px; white-space: normal; color: rgb(34, 34, 34); font-family: &quot;PingFang SC&quot;, &quot;Hiragino Sans GB&quot;, &quot;Microsoft YaHei&quot;, &quot;WenQuanYi Micro Hei&quot;, &quot;Helvetica Neue&quot;, Arial, sans-serif; font-size: 16px; overflow-wrap: break-word !important;">其运笔刚劲有致,质朴简率,秃苍老硬,强调骨力的表现,犹如钉在地上的细木桩,和钉头鼠尾描有相近之处而显短粗。这种线描技法,在宋代已很流行,当时的马远、晁补之等人都善用此法,并一度成为当时画家表现文人隐士所惯用的技法程式。如马远的《孔丘像》,採用秃而枯渴的笔法,以浓重、壮实的笔墨表现较硬的麻质布料,在每根线条的中部都呈现出一种强有力的转折,收笔时则略为收缩。</h3> <p style="text-align: center; margin-top: 16px; margin-bottom: 16px; max-width: 100%; clear: both; min-height: 1em; letter-spacing: 0.8976px; white-space: normal; color: rgb(34, 34, 34); font-family: &quot;PingFang SC&quot;, &quot;Hiragino Sans GB&quot;, &quot;Microsoft YaHei&quot;, &quot;WenQuanYi Micro Hei&quot;, &quot;Helvetica Neue&quot;, Arial, sans-serif; font-size: 16px; overflow-wrap: break-word !important;"><span style="max-width: 100%; font-weight: 700; overflow-wrap: break-word !important;">【曹衣描】</span><span style="font-weight: 700; letter-spacing: 0.8976px;">  </span></h3><p style="margin-top: 16px; margin-bottom: 16px; max-width: 100%; clear: both; min-height: 1em; letter-spacing: 0.8976px; white-space: normal; color: rgb(34, 34, 34); font-family: &quot;PingFang SC&quot;, &quot;Hiragino Sans GB&quot;, &quot;Microsoft YaHei&quot;, &quot;WenQuanYi Micro Hei&quot;, &quot;Helvetica Neue&quot;, Arial, sans-serif; font-size: 16px; overflow-wrap: break-word !important;">相传曹衣描是北朝著名画家曹仲达受到当时传入的印度美术风格的影响而创造出的。其线条以直挺的用笔为主,质感沉著圆浑,线条细密工致,紧贴身躯,宛如刚从水中湿淋淋地走上来一样,所以又被称为“ 曹衣出水 ” 。北宋郭若虚的《图画见闻志》中就有 “ 曹衣出水描 ” 的记载:“ 曹之笔,其体稠叠而衣服紧窄 ” 。与吴道子风格的 “ 吴带当风 ” 相映辉,丰富了中国画的线描技法。如明代吴彬的《临李公麟五百罗汉图》,罗汉衣纹线条密集,紧贴身躯。正如《点石斋丛画》中所说:“ 用尖笔,其体重叠,衣褶紧穿,如蚯蚓描。” 这种线条,在明代丁云鹏、陈洪绶等人的作品也有体现。</h3> <p style="text-align: center; margin-top: 16px; margin-bottom: 16px; max-width: 100%; clear: both; min-height: 1em; letter-spacing: 0.8976px; white-space: normal; color: rgb(34, 34, 34); font-family: &quot;PingFang SC&quot;, &quot;Hiragino Sans GB&quot;, &quot;Microsoft YaHei&quot;, &quot;WenQuanYi Micro Hei&quot;, &quot;Helvetica Neue&quot;, Arial, sans-serif; font-size: 16px; overflow-wrap: break-word !important;"><span style="max-width: 100%; font-weight: 700; overflow-wrap: break-word !important;">【折芦描】</span><span style="font-weight: 700; letter-spacing: 0.8976px;">  </span></h3><p style="margin-top: 16px; margin-bottom: 16px; max-width: 100%; clear: both; min-height: 1em; letter-spacing: 0.8976px; white-space: normal; color: rgb(34, 34, 34); font-family: &quot;PingFang SC&quot;, &quot;Hiragino Sans GB&quot;, &quot;Microsoft YaHei&quot;, &quot;WenQuanYi Micro Hei&quot;, &quot;Helvetica Neue&quot;, Arial, sans-serif; font-size: 16px; overflow-wrap: break-word !important;">这种描法所画衣纹线条起迄部分较为尖细,行笔至中间转折时由于压力增强,而形如折断的芦叶,故名。画折芦描时行笔速度不宜过快,过快易流于粗率;也不宜过慢,过慢则易笔势涩滞。在勾描的同时辅以淡墨进行渲染,一方面有利于增强衣纹的立体感;另一方面,也可以缓解由于用笔激烈转折而带来的紧张生硬之感。如宋代李唐的《采薇图》。</h3> <p style="text-align: center; margin-top: 16px; margin-bottom: 16px; max-width: 100%; clear: both; min-height: 1em; letter-spacing: 0.8976px; white-space: normal; color: rgb(34, 34, 34); font-family: &quot;PingFang SC&quot;, &quot;Hiragino Sans GB&quot;, &quot;Microsoft YaHei&quot;, &quot;WenQuanYi Micro Hei&quot;, &quot;Helvetica Neue&quot;, Arial, sans-serif; font-size: 16px; overflow-wrap: break-word !important;"><span style="max-width: 100%; font-weight: 700; overflow-wrap: break-word !important;">【柳叶描】</span><span style="letter-spacing: 0.8976px;">  </span></h3><p style="margin-top: 16px; margin-bottom: 16px; max-width: 100%; clear: both; min-height: 1em; letter-spacing: 0.8976px; white-space: normal; color: rgb(34, 34, 34); font-family: &quot;PingFang SC&quot;, &quot;Hiragino Sans GB&quot;, &quot;Microsoft YaHei&quot;, &quot;WenQuanYi Micro Hei&quot;, &quot;Helvetica Neue&quot;, Arial, sans-serif; font-size: 16px; overflow-wrap: break-word !important;">这种描法所画线条状如柳叶,而略短于兰叶描,轻盈灵动,阿娜多姿。《点石斋丛画》云:「笔下忌钉头怒降,心手相应而如柳叶。」这种描法适宜于用来表现质地轻而软的衣服。如明代朱瞻基的《武侯高卧图》,人物的衣纹多用柳叶描,偶尔也用兰叶描画些较长的线,使整个画面呈现出一种清新、灵动、轻盈的美感。</h3> <p style="text-align: center; margin-top: 16px; margin-bottom: 16px; max-width: 100%; clear: both; min-height: 1em; letter-spacing: 0.8976px; white-space: normal; color: rgb(34, 34, 34); font-family: &quot;PingFang SC&quot;, &quot;Hiragino Sans GB&quot;, &quot;Microsoft YaHei&quot;, &quot;WenQuanYi Micro Hei&quot;, &quot;Helvetica Neue&quot;, Arial, sans-serif; font-size: 16px; overflow-wrap: break-word !important;"><span style="max-width: 100%; font-weight: 700; overflow-wrap: break-word !important;">【竹叶描】</span><span style="font-weight: 700; letter-spacing: 0.8976px;">  </span></h3><p style="margin-top: 16px; margin-bottom: 16px; max-width: 100%; clear: both; min-height: 1em; letter-spacing: 0.8976px; white-space: normal; color: rgb(34, 34, 34); font-family: &quot;PingFang SC&quot;, &quot;Hiragino Sans GB&quot;, &quot;Microsoft YaHei&quot;, &quot;WenQuanYi Micro Hei&quot;, &quot;Helvetica Neue&quot;, Arial, sans-serif; font-size: 16px; overflow-wrap: break-word !important;">由宋时墨竹画技法演变而来,因线条状如竹叶而得名。《点石斋丛画》说竹叶描「用笔横卧,为肥短撇捺,如竹叶。」在人物衣纹的描法上,竹叶、柳叶、芦叶这三者叶子从外形上看都很相似,只有依靠描绘时手腕下笔的轻重、刚柔与长短等变化来加以区分。如清代禹之鼎所绘《李图南听松图》中的衣纹,用笔起伏顿挫明显,线条粗细变化较大,很像随风飘动的竹叶,飘逸活泼。</h3> <p style="text-align: center; margin-top: 16px; margin-bottom: 16px; max-width: 100%; clear: both; min-height: 1em; letter-spacing: 0.8976px; white-space: normal; color: rgb(34, 34, 34); font-family: &quot;PingFang SC&quot;, &quot;Hiragino Sans GB&quot;, &quot;Microsoft YaHei&quot;, &quot;WenQuanYi Micro Hei&quot;, &quot;Helvetica Neue&quot;, Arial, sans-serif; font-size: 16px; overflow-wrap: break-word !important;"><span style="max-width: 100%; font-weight: 700; overflow-wrap: break-word !important;">【战笔描】</span><span style="letter-spacing: 0.8976px;">  </span></h3><p style="margin-top: 16px; margin-bottom: 16px; max-width: 100%; clear: both; min-height: 1em; letter-spacing: 0.8976px; white-space: normal; color: rgb(34, 34, 34); font-family: &quot;PingFang SC&quot;, &quot;Hiragino Sans GB&quot;, &quot;Microsoft YaHei&quot;, &quot;WenQuanYi Micro Hei&quot;, &quot;Helvetica Neue&quot;, Arial, sans-serif; font-size: 16px; overflow-wrap: break-word !important;">又叫战笔水纹描,宋《宣和画谱》上有这样的记载:「周文矩,金陵句容人也,……善画,行笔瘦硬战掣。」其中的「瘦硬战掣」一语,可视为战笔水纹描的原始依据。周文矩的《重屏会棋图》画当时文人士大夫弈棋聚会的情景,画中人物,笔法简细流利,衣纹线条呈现出曲折战颤之感,与画谱上的记载基本相符。</h3> <p style="text-align: center; margin-top: 16px; margin-bottom: 16px; max-width: 100%; clear: both; min-height: 1em; letter-spacing: 0.8976px; white-space: normal; color: rgb(34, 34, 34); font-family: &quot;PingFang SC&quot;, &quot;Hiragino Sans GB&quot;, &quot;Microsoft YaHei&quot;, &quot;WenQuanYi Micro Hei&quot;, &quot;Helvetica Neue&quot;, Arial, sans-serif; font-size: 16px; overflow-wrap: break-word !important;"><span style="max-width: 100%; font-weight: 700; overflow-wrap: break-word !important;">【减笔描】</span><span style="font-weight: 700; letter-spacing: 0.8976px;">  </span></h3><p style="margin-top: 16px; margin-bottom: 16px; max-width: 100%; clear: both; min-height: 1em; letter-spacing: 0.8976px; white-space: normal; color: rgb(34, 34, 34); font-family: &quot;PingFang SC&quot;, &quot;Hiragino Sans GB&quot;, &quot;Microsoft YaHei&quot;, &quot;WenQuanYi Micro Hei&quot;, &quot;Helvetica Neue&quot;, Arial, sans-serif; font-size: 16px; overflow-wrap: break-word !important;">这是一种行笔速度快,线条简约的画法。其特点是侧锋行笔,画出的线条既概括简练,又富于变化,行笔速度快时尤显其笔力强劲。较为典型的作品是梁楷的《太白行吟图》,画诗仙李白行走吟诗的情形,全画除头部及五官用细笔勾描外,衣裙则用大笔四、五笔淡墨画出,纵笔挥洒,诗人吟咏时的神情就跃然纸上。梁楷的这种减笔线描把中国人物画的创作推到一个新的水准。在宋以后,梁楷的减笔划启发了一部分文人画家,对日本的绘画也产生了深远的影响。</h3> <p style="text-align: center; margin-top: 16px; margin-bottom: 16px; max-width: 100%; clear: both; min-height: 1em; letter-spacing: 0.8976px; white-space: normal; color: rgb(34, 34, 34); font-family: &quot;PingFang SC&quot;, &quot;Hiragino Sans GB&quot;, &quot;Microsoft YaHei&quot;, &quot;WenQuanYi Micro Hei&quot;, &quot;Helvetica Neue&quot;, Arial, sans-serif; font-size: 16px; overflow-wrap: break-word !important;"><span style="max-width: 100%; font-weight: 700; overflow-wrap: break-word !important;">【枯柴描】</span><span style="font-weight: 700; letter-spacing: 0.8976px;">  </span></h3><p style="margin-top: 16px; margin-bottom: 16px; max-width: 100%; clear: both; min-height: 1em; letter-spacing: 0.8976px; white-space: normal; color: rgb(34, 34, 34); font-family: &quot;PingFang SC&quot;, &quot;Hiragino Sans GB&quot;, &quot;Microsoft YaHei&quot;, &quot;WenQuanYi Micro Hei&quot;, &quot;Helvetica Neue&quot;, Arial, sans-serif; font-size: 16px; overflow-wrap: break-word !important;">枯柴描与减笔描在用笔上并无多大区别,只是前者渴笔较多,后者干湿并用。如宋代龚开的《中山出游图》,锺馗衣纹都用偏锋,渴笔划出,线上叉开时还会产生飞白的效果,一如枯柴高悬。明代画家多採用这种描法,如吴伟、张路、周臣等画中人物服饰中的线条基本上属于这一类型。</h3> <p style="text-align: center; margin-top: 16px; margin-bottom: 16px; max-width: 100%; clear: both; min-height: 1em; letter-spacing: 0.8976px; white-space: normal; color: rgb(34, 34, 34); font-family: &quot;PingFang SC&quot;, &quot;Hiragino Sans GB&quot;, &quot;Microsoft YaHei&quot;, &quot;WenQuanYi Micro Hei&quot;, &quot;Helvetica Neue&quot;, Arial, sans-serif; font-size: 16px; overflow-wrap: break-word !important;"><span style="max-width: 100%; font-weight: 700; overflow-wrap: break-word !important;">【蚯蚓描】</span><span style="font-weight: 700; letter-spacing: 0.8976px;"> </span></h3><p style="margin-top: 16px; margin-bottom: 16px; max-width: 100%; clear: both; min-height: 1em; letter-spacing: 0.8976px; white-space: normal; color: rgb(34, 34, 34); font-family: &quot;PingFang SC&quot;, &quot;Hiragino Sans GB&quot;, &quot;Microsoft YaHei&quot;, &quot;WenQuanYi Micro Hei&quot;, &quot;Helvetica Neue&quot;, Arial, sans-serif; font-size: 16px; overflow-wrap: break-word !important;">这种描法要求把篆书笔法融于画法之中,似篆书般圆匀遒劲的笔法,以外柔内刚的线条来表现人物的衣纹。如明代丁云鹏的《补纳图》,画中衣纹线条墨色秀润简劲,用线简洁,细劲平直,很好地体现了外柔内刚的衣纹特徵。</h3> <p style="text-align: center; margin-top: 16px; margin-bottom: 16px; max-width: 100%; clear: both; min-height: 1em; letter-spacing: 0.8976px; white-space: normal; color: rgb(34, 34, 34); font-family: &quot;PingFang SC&quot;, &quot;Hiragino Sans GB&quot;, &quot;Microsoft YaHei&quot;, &quot;WenQuanYi Micro Hei&quot;, &quot;Helvetica Neue&quot;, Arial, sans-serif; font-size: 16px; overflow-wrap: break-word !important;"><span style="max-width: 100%; font-weight: 700; overflow-wrap: break-word !important;">【橄榄描】</span><span style="letter-spacing: 0.8976px;">  </span></h3><p style="margin-top: 16px; margin-bottom: 16px; max-width: 100%; clear: both; min-height: 1em; letter-spacing: 0.8976px; white-space: normal; color: rgb(34, 34, 34); font-family: &quot;PingFang SC&quot;, &quot;Hiragino Sans GB&quot;, &quot;Microsoft YaHei&quot;, &quot;WenQuanYi Micro Hei&quot;, &quot;Helvetica Neue&quot;, Arial, sans-serif; font-size: 16px; overflow-wrap: break-word !important;">橄榄描用笔起迄极轻,头尾尖细,中间沉著粗重,所画衣纹如橄揽果实,故而得名。周履靖、汪玉认为此法为颜辉所创,如颜辉的《铁拐仙人像》,衣纹线条採用颤笔划出,头尾尖细,中间的线条粗如橄榄。</h3> <p style="text-align: center; margin-top: 16px; margin-bottom: 16px; max-width: 100%; clear: both; min-height: 1em; letter-spacing: 0.8976px; white-space: normal; color: rgb(34, 34, 34); font-family: &quot;PingFang SC&quot;, &quot;Hiragino Sans GB&quot;, &quot;Microsoft YaHei&quot;, &quot;WenQuanYi Micro Hei&quot;, &quot;Helvetica Neue&quot;, Arial, sans-serif; font-size: 16px; overflow-wrap: break-word !important;"><span style="max-width: 100%; font-weight: 700; overflow-wrap: break-word !important;">【枣核描】</span><span style="font-weight: 700; letter-spacing: 0.8976px;"> </span></h3><p style="margin-top: 16px; margin-bottom: 16px; max-width: 100%; clear: both; min-height: 1em; letter-spacing: 0.8976px; white-space: normal; color: rgb(34, 34, 34); font-family: &quot;PingFang SC&quot;, &quot;Hiragino Sans GB&quot;, &quot;Microsoft YaHei&quot;, &quot;WenQuanYi Micro Hei&quot;, &quot;Helvetica Neue&quot;, Arial, sans-serif; font-size: 16px; overflow-wrap: break-word !important;">枣核描用尖的大笔绘就,虽与橄榄描相似,但线条节奏较之更柔和,故线条更显自由。枣核描运用大笔挥洒,中间转折顿挫圆浑,呈枣核状。由于线的转折剧烈,中段自然鼓起,再加上线条短促,所以枣核描较适宜表现麻布的质感。如清代金农的《锺馗图》,就是典型的枣核描法。</h3>