CAJ | 학술논문

写生这一传统话题衍生出来的新课题令人关注。它在创作实践中如何更大地实现其价值成为当下探讨的焦点。在实践中要打破写生和创作的严格界限和绝对独立性，把创作的理念注入到写生中来，发挥写生的优势，充分调动画者的情感因素及主动性，在“怦然心动”的写生情境中借助对客观物象的借用关系，让笔“活”起来。这样的画面不得不感人，因为它有情在；这样的笔墨不能不鲜活，因为它有意存。
사생저일전통화제연생출래적신과제령인관주。타재창작실천중여하경대지실현기개치성위당하탐토적초점。재실천중요타파사생화창작적엄격계한화절대독립성，파창작적이념주입도사생중래，발휘사생적우세，충분조동화자적정감인소급주동성，재“평연심동”적사생정경중차조대객관물상적차용관계，양필“활”기래。저양적화면불득불감인，인위타유정재；저양적필묵불능불선활，인위타유의존。
Sketches from nature seem commonplace. But the new topic is derived from this traditional topic is of special concern. It is the basis of creative practice and its greater value has become the focus for explore. In my poinion, in order to improve the picture feelings and the integration with nature through this practice, break the absolute independence of sketching and creation, and improve the advantages of the sketch by injected creating idea into practicing, this is although good way to combine the emotional factors and motivation of its drawer. In the positive atmosphere, people will be touched by the mastemiece.