美术不是丑术！

Art is not ugly!

变形是手段，表现是目的。通过夸张、变形塑造更美的形象。美术就是创造美的技术，而不是丑术。

平时你还能在展览会、刊物上见到一些所谓变形的画，其实画画的人自己也讲不清楚为什么要那样画，不过是拉大旗做虎皮来吓唬人，秃子当和尚，不会念真经。

实际在艺术上简比繁更难，“简”，要对复杂的自然形态进行筛选、提纯、净化，像淘金一样，剩下的是金子，一幅好的抽象画要有一番惨淡经营，“九朽一罢”，画中那些点、线、面也都是从生活中提炼出来的。

夸张也好，变形也好，你描绘的对象越夸张越生动，越变形越让人看着美，那就是艺术所需要的；倘若越变越丑，越夸张越离奇，那夸张和变形又有什么意义呢？只管任意夸张、任性变形，不顾艺术的规律，总是行不通的，要知道，美术还是姓“美”，不姓“丑”的。

大写意因何变形

大写意花鸟画之所以要变形，其原因不外两个方面。

一是通过变形，可以使“神”更为突出，即不受造型的真实所约束，可以更自由些地来使“神”在原有水平上再提高一步。这就是古人所说的“遗形取神”，或“物外得似”。

另一原因是因为大写意笔墨精简，是不便于曲尽物态的。只有高度精炼的笔墨技法，才能够取得大写意应有的那种效果强烈艺术特色。那种认为大写意花鸟画的变形是造型上的低能观念，是一种误解。

“变形”要比单纯的写生更难，更高一档。但“变形”如何变？不是胡变乱变，变形要“不离形似”。完全离开了形，神从何而来？更何况变形也有高低之分。

夸张与变形的主要目的之一就是为了“取神”。中国传统说法叫做“夸不失实”。

写意画，贵在不求形似亦不离形似。此所谓不求形似者，非置形似于不顾，盖不斤斤于形似者也。唯其不斤斤于形似，乃能物外得似，遗形取神。

来源：搜狐网

Art is not ugly!

Deformation is a means and performance is a goal. Through the exaggeration and distortion to create a more beautiful image. Art is the creation of beautiful technologies, not ugly techniques.

Usually, you can see some so-called distorted paintings in exhibitions and publications. In fact, people who paint themselves are not sure why they should draw in that way, but they are pulling banners to scare people and baldness as monks. Will read the truth.

Actually, it is more difficult than simple and complex in art. "Jane" needs to screen, purify and purify complex natural forms. Like gold, the rest is gold. A good abstract painting must have a dismal operation. " Nine rots and one strike, the points, lines, and faces in the painting are all extracted from life.

No matter exaggeration or deformation, the more exaggerated and vivid the objects you portray, the more distorted people look at the beauty, which is what art needs; if it becomes more ugly, more exaggerated and more bizarre, that exaggeration and distortion have What is the meaning? Any arbitrarily exaggerated and involuntary distortions, regardless of the laws of art, always do not work. We must know that fine arts still have the surname "beautiful" and the surname "ugly".

What is the big picture?

The reason why the freehand flower and bird painting is to be transformed is two reasons.

First, through the transformation, the "god" can be made more prominent, that is, not subject to the real constraints of modeling, and it can be more free to make "god" one step higher on the original level. This is what the ancients called the "remains of God", or "like outside."

The other reason is that because of the streamlining of big freehand brushwork, it is not easy to compose patterns. Only a highly refined brush and ink technique can achieve the strong artistic features that are typical of great freehand brushwork. It is a misunderstanding to think that the deformation of the big flowery bird painting is a concept of low energy.

Do not look like nor leave

"Deformation" is more difficult than simple sketching. It is a higher file. But how does "deformation" change? It's not that Hu changes, but it does not mean it is deformed. Completely out of shape, where does God come from? What's more, there are different levels of distortion.

One of the main purposes of exaggeration and distortion is to "get God." The traditional Chinese saying is called "professional."

Freehand drawing, you do not look like or shape. This kind of so-called "unlike shape" is nothing like disregarding the fact that it does not look like it. The only thing that can't be overhauled in form is that it can be something like something out of shape, but it's a relic.

Source: Sohu.com