“士人画”与“文人画”观述评
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摘要
20世纪20年代以来,"文人"即"士人""士大夫",合称"文人士大夫";"士人画"即"文人画",似早已成为画学定论,不是问题。但近年来,却逐渐兴起了一种区分"文人画"与"士人画"的风气。究竟何为"士人画""文人画",也越来越得到学界关注。文章在详细梳理前人"士人画""文人画"观的同时,也对相关问题做了进一步反思:"士人画"与"文人画"观须仔细分辨,不能相提并论,混为一谈;"文人"不同于"士人","士人之画"不同于"文人之画","士人画"亦不同于"文人画";"士人之画"意为士人的画(或士人所画),"文人之画"意为文人的画(或文人所画),更强调作画者身份,非流派、风格或样式之名;"士人画""文人画"为流派、风格或样式之名;"士人之画"早于"士人画","文人画"早于"文人之画";"士人画"起源于唐(以王维等为代表),"文人画"起源于北宋(以苏轼等为代表)。
Since the 1920 s,"intellectuals"and"scholars"have been collectively called"literati"and it has been universally acknowledged by the field of painting studies that"intellectual painting"and"literati painting"are referred to the same thing. But in recent years,there has been a gradual tendency of distinguish between "intellectual painting"and"literati painting". And what exactly is"intellectual painting"and"literati painting"is increasingly focused by the academic field. The paper gives a detailed review of past views about "intellectual painting "and "literati painting ",and elaborates on the following relevant topics: we should not confuse "intellectual painting"with "literati painting"; "intellectual"is different from "literati","painting of intellectual"is different from "painting of literati",and "intellectual painting"is also different from "literati painting". To be specific,"painting of intellectual"and "painting of literati"emphasize more about the identity of the painter than the genre and style of the painting; "intellectual painting"and"literati painting"are concepts about the genre and style of painting; "painting of intellectual"emerges earlier than "intellectual painting",while "literati painting"emerges earlier than "painting of literati"; "intellectual painting"was originated in the Tang Dynasty( Wang Wei as the representative painter),while "literati painting"was originated in the Northern Song Dynasty( Su Shi as the representative painter).
Since the 1920 s,"intellectuals"and"scholars"have been collectively called"literati"and it has been universally acknowledged by the field of painting studies that"intellectual painting"and"literati painting"are referred to the same thing. But in recent years,there has been a gradual tendency of distinguish between "intellectual painting"and"literati painting". And what exactly is"intellectual painting"and"literati painting"is increasingly focused by the academic field. The paper gives a detailed review of past views about "intellectual painting "and "literati painting ",and elaborates on the following relevant topics: we should not confuse "intellectual painting"with "literati painting"; "intellectual"is different from "literati","painting of intellectual"is different from "painting of literati",and "intellectual painting"is also different from "literati painting". To be specific,"painting of intellectual"and "painting of literati"emphasize more about the identity of the painter than the genre and style of the painting; "intellectual painting"and"literati painting"are concepts about the genre and style of painting; "painting of intellectual"emerges earlier than "intellectual painting",while "literati painting"emerges earlier than "painting of literati"; "intellectual painting"was originated in the Tang Dynasty( Wang Wei as the representative painter),while "literati painting"was originated in the Northern Song Dynasty( Su Shi as the representative painter).
引文
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(1)凡本文用《日知录校注》皆据此本,以下不赘录。
(2)汉·郑玄笺,唐·孔颖达疏:《毛诗正义》卷第二《邶风·北门序》,李学勤主编《十三经注疏》本,169页。
(1)魏·何晏注,宋·邢昺疏:《论语注疏》卷十九《子张》,李学勤主编《十三经注疏》本,页255。
(2)凡本文用“百衲本二十五史”,皆据此本,以下不赘录。
(3)宋·韩拙《山水纯全集》:“今有名卿士大夫之画……多求简易而取清远。”俞剑华编著《中国古代画论类编》本,人民美术出版社2000年版,页697。凡本文用《中国古代画论类编》皆据此本,以下不赘录。
(4)清·周亮工:《读画录》,7·953下22(即卢辅圣主编《中国书画全书》第7册第953页下栏第22列,上海书画出版社1994年版。下同)
(5)宋·邓椿《画继》卷三“宋子房”条,于安澜编《画史丛书》(一)本,上海人民美术出版社1963年版,页17。凡本文用《画史丛书》皆据此本,以下不赘录。
(6)首见于唐张彦远《历代名画记》,明朱谋垔《画史会要》:“刘绍祖……谢云,笔迹调快,劲滑有余,然伤于师工,乏其士体,其于模写特为精密。”(4·500下4)盖本于《历代名画记》。
(7)宋·邓椿《画继》:“范正夫,字子立……寄兴清远,真士人笔也!”(2·708上24)。
(8)元·汤垕《古今画鉴》:“宋迪,字复古,师李成,清甚,士大夫画中最佳。”(2·900上24)
(9)明·王绂《书画传习录》:“昔赵子昂问钱舜举曰,如何是士夫画。”(3·235下2)
(10)明·王绂《书画传习录》:“舜举曰,隶家画耳。”(3·235下2)。
(11)明·王绂《书画传习录》:“昔赵文敏问道于钱舜举,何以称士气,钱曰,隶体耳。”(3·135下23);同书“朱孔阳……评者谓二人之画,作家士气兼而有之,近世所罕”(3·288上22);明·董其昌《画禅室随笔》云:“士人作画,当以草隶奇字之法为之,树如屈铁,山如画沙,绝去甜俗蹊径,乃为士气。”(3·1013下13)。
(12)明·屠隆《画笺》:“元画,评者谓士大夫画,世独尚之,盖士气画者……此真士气画也”(3·995上24)
(13)明·李日华《味水轩日记》:“江夏吴小仙长幅画四,所作树根石脉,亦老健有风霜之色,恨姿韵浊,不入士流耳。”(3·1123下4)
(14)清·唐志契《绘事微言》:“苏松品格同异……笔之所在,如风神秀逸,韵致清婉,此士大夫气味也。”(4·62上17)
(15)清·周亮工《读画录》:“半千画士士画之论详矣,确不可易。”(7·953下12)
(16)清·邹一桂《小山画谱》:“赵文敏问画道于钱舜举,何以称士大夫画,曰,隶体耳。”21(14·713上1)
(17)清·方熏《山静居论画》:“董思翁不耐作工画,而曰李、赵之画极妙,又有士人气,后世仿得其妙,不能其雅。”王伯敏、任道斌主编《画学集成》(明-清)本,河北教育出版社2002年版,页554。凡本文用《画学集成》皆据此本,以下不赘录。
(18)汉·郑玄,唐·贾公彦疏:《周礼注疏》卷第三十九《冬官考工记第六》,李学勤主编《十三经注疏》本,页1057。
(19)汉·郑玄注,唐·孔颖达疏:《礼记注疏》卷第十一《王制第五》,李学勤主编《十三经注疏》本,页330。
(20)余英时:《东汉政权之建立与士族大姓之关系》一文认为“士大夫”是由“士”和“大夫”两词合成而来。
(1)凡本文用《画学丛证》皆据此版,以下不赘录。
(2)另请参见徐建融《文人画与士人画》,《国画家》2008年第1、2期。笔者对历代“士人”、“文人”作过较详细考察,撰有《“文人”考---现当代“文人画”研究预设反思》(《中华文化论坛》2013年第10期)、《“士人”考》两文,后者待刊。
(3)虽“道”为共名,儒、释、道三家各有其“道”,但“士”所志之“道”在最大程度上指的是儒家之“道”。
(4)陈衡恪:《文人画之价值》,顾森、李树声主编《百年中国美术经典》(第一卷)本,海天出版社1998年版,页27、29。凡本文用《百年中国美术经典》皆据此本,以下不赘录。
(1)此两篇论文收入《万青力美术文集》,人民美术出版社2004年版。
(2)凡本文用《俞剑华美术史论集》皆据此本,以下不赘录。
(3)凡本文用《中国画与画论》皆据此本,以下不赘录。
(4)清·顾炎武著,陈垣校注:《日知录校注》卷十九《文人之多》,页1053。
(5)阮璞:《文人不满文人画》,载氏著《画学丛证》,页20。
(6)元·脱脱等:《宋史》列传第九十九《刘挚》,百衲本二十五史,页1025-1026。
(7)清·顾炎武著,陈垣校注:《日知录校注》卷十九《文人之多》,页1053。
(1)陈师曾:《文人画之价值》,顾森、李树声主编《百年中国美术经典》(第一卷)本,页27。
(2)周积寅、耿建主编:《俞剑华美术史论集》,页290。
(3)“前文人画”、“非文人画”等概念可以参见卢辅圣《中国文人画通鉴》第一章第二、三节。
(4)“新文人画”指20世纪80年代末90年代初中国画苑兴起的一种文化现象,陈绶祥《新文人画艺术》(吉林美术出版社1999年版)可以参考。
(5)比玄宰早近二百年的明初王绂在《书画传习录》中说:“王右丞胸次潇洒,文人之画自其始。”但《书画传习录》一书真伪有争议,故应存而不论。
(6)明·董其昌:《画旨》,王伯敏、任道斌主编《画学集成》(明-清)本,页218。
(7)金梁:《盛京故宫书画录》,俞剑华编著《中国古代画论类编》本,页758。
(8)明·董其昌:《画旨》,王伯敏、任道斌主编《画学集成》(明-清)本,页218。
(9)清·永2)等撰:《四库全书总目》卷一一三《子部·艺术类二·画史会要五卷》,页965上栏。
(10)魏·何晏注,宋·邢昺疏:《论语注疏》卷第十三《子路》:“子路曰:‘卫君待子而为政,子将奚先?’子曰:‘必也正名乎!’子路曰:‘有是哉,子之迂也!奚其正?’子曰:‘野哉,由也!。君子于其所不知,盖阙如也。名不正则言不顺,言不顺则事不成,事不成则礼乐不兴,礼乐不兴则刑罚不中,刑罚不中则民无所措手足,故君子名之必可言也,言之必可行也。君子于其言,无所苟而已矣。’”李学勤主编《十三经注疏》本,页171。
(11)周积寅、耿建主编:《俞剑华美术史论集》,页290。
(12)凡本文用《中国文人画通鉴》皆据此本,以下不赘录。
(1)转引自张安治《论文人画》,氏著《中国画与画论》,页2。
(2)凡本文用《关于文人画史的思辨》皆据此本,以下不赘录。
(3)凡本文用《宋徽宗与文人画》皆据此本,以下不赘录。
(4)张其凤:《宋徽宗与文人画》,页46-47。
(5)卢辅圣:《中国文人画通鉴》第一章第三节《独特的趣味标准》,页20。
(1)滕固:《关于院体画和文人画之史的考察》,顾森李树声主编《百年中国美术经典》(第一卷)本,页121。
(2)凡本文用《论文人画》皆据此本,以下不赘录。
(1)卢辅圣:《中国文人画通鉴》,页7。
(2)董其昌等“南北宗”论的“南宗”系谱中有“二米”,没有苏轼;邹一桂“士大夫画”系谱中没有苏轼,而“文人画”中有“三苏父子”等可证。另,关于文同、苏轼、“大小米”画品的最近研究,请参见韩刚《迈往凌云---米芾书画考论》(人民美术出版社2010年版);关于“文人画”、“士人画”的最近研究,请参考韩刚、黄凌子:《中国古代物质文化史·绘画·卷轴画·宋》(开明出版社2014年版)。再,前贤多认为“逸品”与“文人画”关系紧密,而据笔者考察,“逸品”与“士人画”关系密切,与“文人画”无关。
(1)明·董其昌:《容台集》,四库全书存目丛书本。
(2)清·邹一桂:《小山画谱》,王伯敏、任道斌主编《画学集成》(明-清)本,页465。
(3)唐·张彦远:《历代名画记》卷六,于安澜编《画史丛书》(一)本,页82。
[2]清·顾炎武,日知录校注(卷七)《士何事》[M].陈垣校注.合肥:安徽大学出版社,2007.Gu Yanwu,Chen Yuan(annotates),“What Is Scholar?”from“Annotation of Rizhilu”,Volume 7,Hefei:Anhui University Press,2007,p.423.
[3]清·段玉裁.说文解字注(第一篇上)[M].北京:中华书局,1998.DuanY ucai,“Annotation of Shuo Wen Jie Zi”,Beijing:Zhonghua Book Company,1998,p.18.
[4]汉·班固.后汉书(卷四十九)《仲长统传》[A].百衲本二十五史[C].杭州:浙江古籍出版社,1998.Ban Gu,“Zhong Changtong biography”from History of The Later Han Dynasty,Volume 49,Hangzhou:Zhejiang Ancient Books Publishing House,1998,p.802.
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[6]余英时.士与中国文化[M].上海:上海人民出版社,1987.Yu Yingshi,Scholars and Chinese Culture,Shanghai:Shanghai People's Publishing House,1987,p.283-284.
[7]阮璞.画学丛证[M].上海:上海书画出版社,1998.Ruan Pu,Researches of Painting Studies,Shanghai:Shanghai Fine Arts Publishing House,1998,p.13.
[8]徐建融.长风画麈[M].上海:上海书画出版社,2009.Xu Jianrong,Chang Feng Hua Zhu,Shanghai:Shanghai Fine Arts Publishing House,2009,p.33.
[9]章太炎.春秋左氏疑义答问(卷三)[A].章太炎全集(六)[C].上海:上海人民出版社,1986.Zhang Taiyan,“Answers to the Questions about Zuoin Chunqiu”from Complete Works of Zhang Taiyan,Volume 6,Shanghai:Shanghai People's Publishing House,1986,p.306.
[10]唐卫萍.身份建构的及焦虑:北宋“士人画”观念的发展演变(附录)[M].北京:中国社会科学出版社,2012.Tang Weiping,Anxiety About Identity Construction:The History Of The Concept Of“Scholar Painting,Beijing:China Social Sciences Press,2012.
[11]童书业绘画史论集(下)[M].北京:中华书局,2008.Tong Shuye's Articles about Painting History,volume 2,Beijing:Zhonghua Book Company,2008,p765.
[12]周积寅,耿建.俞剑华美术史论集[M].南京:东南大学出版社,2009.Zhou Jiyin,Geng Jian,et al.(Ed.),Yu Jianhua's Articles about Art History,Nanjing:Southeast University Press,2009,p.287.
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[14]韩刚.“文人”考---现当代“文人画”研究预设反思[J].中华文化论坛,2013,(10).Han Gang,“A research about‘literati:a reflection on the research assumptions of‘literati painting’”,Chinese Cultural Forum,No.10(2013).
[15]黄宾虹.致朱砚英函[A].南羽.黄宾虹谈艺录(本)[C].郑州:河南美术出版社,1998.Huang Binhong,“Letter to Zhu Yanying”from Yu Nan(Ed.),Collection of Huang Binhong's Articles About Art,Zhengzhou:Henan Fine Arts Publishing House,1998,p.21.
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[17]徐复观.中国艺术精神(第四章)[A].环绕南北宗的诸问题[C].上海:华东师范大学出版社,2001.Xu Fuguan,Chinese Art Spirit,Shanghai:East China Normal University Press,2001,p.243.
[18]清·永2)等撰.四库全书总目(卷一九三)[A].集部·总集类存目三·周文归二十卷[C].北京:中华书局,1965.Yong Rong,et al.,(Ed.),Si Ku Quan Shu,Volume193,Beijing:Zhonghua Book Company,1965.
[19]卢辅圣.中国文人画通鉴(第一章)[A].逸的意识流程[C].石家庄:河北美术出版社,2002.Lu Fusheng,A Comprehensive History of Chinese Literati Painting,Hebei Fine Arts Publishing House,2002,p.1.
[20]徐建融.文人画和士人画(上)[J].国画家,2008,(1).Xu Jianrong,“Literati painting and intellectual painting(1)”,Traditional Chinese Painter,No.10(2008),p.211.
[21]万青力.文人画与文人画传统---对20世纪中国画史研究中一个概念的界定[J].文艺研究,1996,(1).Wan Qingli,“Literati painting and the tradition of literati painting:definition of a concept in research on the history of Chinese painting in the 20th Century”,Literature and Art Studies,No.1(1996),p.140-144.
[22]邓乔彬.论北宋文人画[J].东南大学学报(哲学社会科学版),2005,7(2).Deng Qiaobin,“On the literati painting of Northern Song Dynasty”,Journal of Southeast University(Philosophy and Social Sciences),March 2005,Vol.7,No.2.
[23]冯骥才.关于文人画史的思辨[A].氏著《文人画辨》[C].郑州:中州古籍出版社,2007.Feng Jicai,“On the history of literati painting”,Shi Zhu,Proceedings on Literati Painting,Beijing:Rongbaozhai Publishing House,2007.
[24]张其凤.宋徽宗与文人画(第二章)[A].宋徽宗关照下的宣和体绘画与文人画之兼容性种种[C].北京:荣宝斋出版社,2008.Zhang Qifeng,“Emperor Huizong of Song and literati painting(Chapter II)”“Vision and body painting and literati painting Huizong care under various compatibility”,Beijing:RongB ao Zhai Press,2008,p.46.
[25]徐书城.宋代绘画史[M].北京:人民美术出版社,2000.Xu Shucheng,History of the Song Dynasty Painting,Beijing:People's Fine Arts Publishing House,2000,p.140.
[26]王伯敏.中国绘画通史[M].北京:生活·读书·新知三联书店,2000.Wang Bomin,History of Chinese Painting,Beijing:SDXJoint Publishing Company,2000,p.140.
[27]李泽厚.美的历程[A].李泽厚十年集(第一卷)[C].合肥:安徽文艺出版社,1994.Li Zehou,History of Beuty from Li Zehou's Decade Collection,(Vol.I),Hefei:Anhui Literature and Art Publishing House,1994,p.172.
[28]熊纬书.论“文人画”[J].美术,1959,(3).Xiong Weishu,“On‘literati painting’”,Art,No.3(1959),p.39.
[29]葛路,克地.中国艺术神韵[M].天津人民出版社,1993.Ge Lu,Ke Di,The Charm of Chinese Art,Tianjin People's Publishing House,1993,p.195.
[30]郑明宝.文同、苏轼与文人画的关系怎样[A].古代艺术三百题[C].上海:上海古籍出版社,1989.ZhengM ingbao,“Wen Tong,Su Shi and their relation withliterati painting”from Three Hundred Topics about Ancient Art,Shanghai:Shanghai Ancient Books Publishing House,1989,p.272.
[31]邵彦.中国绘画的历史与审美鉴赏[M].北京:中国人民大学出版社,2007.Shao Yan,(Ed.),History and Aesthetic Appreciation of Chinese Painting,Beijing:China Renmin University Press,2007,p.201.
[32]林木.论文人画[M].上海:上海人民美术出版社,1987.Li Mu,Literati Painting,Shanghai:Shanghai People's Fine Arts Publishing House,1987,p.103.
[33]了庐,凌利中.中国文人画史新论[M].上海:上海画报出版社,2002.Liao Lu,Ling Lizhong,A New Discussion about the History of Chinese Literati Painting,Shanghai:Shanghai Pictorial Publishing House,2002,p.2.
[34]彭修银.墨戏与逍遥---中国文人画美学传统[M].台北:文津出版社,1995.PengX iuyin,Ink Game and Freedom:Aesthetic Tradition of Chinese Literati Painting,Taipei:Wenjin Press,1995,p.50.
[35]王逊.苏轼和宋代文人画[A].王逊美术史论集[C].石家庄:河北教育出版社,2009.Wang Xun,“Su Shi and Song Dynasty literati painting”,Collectionof Wang Xun's Articles about Art History,Shijiazhuang:Hebei Education Press,2009,p.106.
[36]刘晓路.超时代的创举---苏轼对士人画的首倡[J].北方美术,2000,(1).Liu Xiaolu,“Innovation ahead of the time:Su Shi's initiative advocate ofliterati painting”,Northern Art,No.1(2000),p.52.
[37]严善錞.文人与画---正史与小说中的画家[M].南京:江苏教育出版社,2005.Yan Shanchun,Scholars and Painting:Artists in Official History and Fiction,Nanjing:Jiangsu Education Press,2005,p.106.
[38]清·王原祁等.佩文斋书画谱(卷十二)[A].李来源,林木.中国古代画论发展史实(本)[C].上海:上海人民美术出版社,1997.Wang Yuanqi,et al.,(ed.),Peiwenzhai Collection of Essays about Calligraphy and Painting,Volume 12,Shanghai:Shanghai People's Fine Arts Publishing House,1997,p.155.
[39]黄宾虹.古画微[A].南羽.黄宾虹谈艺录四《论画史》[C].郑州:河南美术出版社,1998.Huang Binhong,“A probe into ancient paintings”,Nan Yu(ed.),Collection of Huang Binhong's Articles About Art,Zhengzhou,Henan Fine Arts Publishing House,1998,p.180.
[40]阮璞.中国画史论辩[M].西安:陕西人民美术出版社,1993.Ruan Pu,A Discussion and Debate on the History of Chinese Painting,Xi'an:Shanxi People's Fine Arts Publishing House,1993,p.127.
[41]程明震.文心后素(第一章第一节)[A].关于文人画的界定问题[C].南京:东南大学出版社,2007.Cheng Mingzhen,“Definition of literati painting”,Research of Excellent Essays,Nanjing:Southeast University Press,2007,p.7.
(1)凡本文用《日知录校注》皆据此本,以下不赘录。
(2)汉·郑玄笺,唐·孔颖达疏:《毛诗正义》卷第二《邶风·北门序》,李学勤主编《十三经注疏》本,169页。
(1)魏·何晏注,宋·邢昺疏:《论语注疏》卷十九《子张》,李学勤主编《十三经注疏》本,页255。
(2)凡本文用“百衲本二十五史”,皆据此本,以下不赘录。
(3)宋·韩拙《山水纯全集》:“今有名卿士大夫之画……多求简易而取清远。”俞剑华编著《中国古代画论类编》本,人民美术出版社2000年版,页697。凡本文用《中国古代画论类编》皆据此本,以下不赘录。
(4)清·周亮工:《读画录》,7·953下22(即卢辅圣主编《中国书画全书》第7册第953页下栏第22列,上海书画出版社1994年版。下同)
(5)宋·邓椿《画继》卷三“宋子房”条,于安澜编《画史丛书》(一)本,上海人民美术出版社1963年版,页17。凡本文用《画史丛书》皆据此本,以下不赘录。
(6)首见于唐张彦远《历代名画记》,明朱谋垔《画史会要》:“刘绍祖……谢云,笔迹调快,劲滑有余,然伤于师工,乏其士体,其于模写特为精密。”(4·500下4)盖本于《历代名画记》。
(7)宋·邓椿《画继》:“范正夫,字子立……寄兴清远,真士人笔也!”(2·708上24)。
(8)元·汤垕《古今画鉴》:“宋迪,字复古,师李成,清甚,士大夫画中最佳。”(2·900上24)
(9)明·王绂《书画传习录》:“昔赵子昂问钱舜举曰,如何是士夫画。”(3·235下2)
(10)明·王绂《书画传习录》:“舜举曰,隶家画耳。”(3·235下2)。
(11)明·王绂《书画传习录》:“昔赵文敏问道于钱舜举,何以称士气,钱曰,隶体耳。”(3·135下23);同书“朱孔阳……评者谓二人之画,作家士气兼而有之,近世所罕”(3·288上22);明·董其昌《画禅室随笔》云:“士人作画,当以草隶奇字之法为之,树如屈铁,山如画沙,绝去甜俗蹊径,乃为士气。”(3·1013下13)。
(12)明·屠隆《画笺》:“元画,评者谓士大夫画,世独尚之,盖士气画者……此真士气画也”(3·995上24)
(13)明·李日华《味水轩日记》:“江夏吴小仙长幅画四,所作树根石脉,亦老健有风霜之色,恨姿韵浊,不入士流耳。”(3·1123下4)
(14)清·唐志契《绘事微言》:“苏松品格同异……笔之所在,如风神秀逸,韵致清婉,此士大夫气味也。”(4·62上17)
(15)清·周亮工《读画录》:“半千画士士画之论详矣,确不可易。”(7·953下12)
(16)清·邹一桂《小山画谱》:“赵文敏问画道于钱舜举,何以称士大夫画,曰,隶体耳。”21(14·713上1)
(17)清·方熏《山静居论画》:“董思翁不耐作工画,而曰李、赵之画极妙,又有士人气,后世仿得其妙,不能其雅。”王伯敏、任道斌主编《画学集成》(明-清)本,河北教育出版社2002年版,页554。凡本文用《画学集成》皆据此本,以下不赘录。
(18)汉·郑玄,唐·贾公彦疏:《周礼注疏》卷第三十九《冬官考工记第六》,李学勤主编《十三经注疏》本,页1057。
(19)汉·郑玄注,唐·孔颖达疏:《礼记注疏》卷第十一《王制第五》,李学勤主编《十三经注疏》本,页330。
(20)余英时:《东汉政权之建立与士族大姓之关系》一文认为“士大夫”是由“士”和“大夫”两词合成而来。
(1)凡本文用《画学丛证》皆据此版,以下不赘录。
(2)另请参见徐建融《文人画与士人画》,《国画家》2008年第1、2期。笔者对历代“士人”、“文人”作过较详细考察,撰有《“文人”考---现当代“文人画”研究预设反思》(《中华文化论坛》2013年第10期)、《“士人”考》两文,后者待刊。
(3)虽“道”为共名,儒、释、道三家各有其“道”,但“士”所志之“道”在最大程度上指的是儒家之“道”。
(4)陈衡恪:《文人画之价值》,顾森、李树声主编《百年中国美术经典》(第一卷)本,海天出版社1998年版,页27、29。凡本文用《百年中国美术经典》皆据此本,以下不赘录。
(1)此两篇论文收入《万青力美术文集》,人民美术出版社2004年版。
(2)凡本文用《俞剑华美术史论集》皆据此本,以下不赘录。
(3)凡本文用《中国画与画论》皆据此本,以下不赘录。
(4)清·顾炎武著,陈垣校注:《日知录校注》卷十九《文人之多》,页1053。
(5)阮璞:《文人不满文人画》,载氏著《画学丛证》,页20。
(6)元·脱脱等:《宋史》列传第九十九《刘挚》,百衲本二十五史,页1025-1026。
(7)清·顾炎武著,陈垣校注:《日知录校注》卷十九《文人之多》,页1053。
(1)陈师曾:《文人画之价值》,顾森、李树声主编《百年中国美术经典》(第一卷)本,页27。
(2)周积寅、耿建主编:《俞剑华美术史论集》,页290。
(3)“前文人画”、“非文人画”等概念可以参见卢辅圣《中国文人画通鉴》第一章第二、三节。
(4)“新文人画”指20世纪80年代末90年代初中国画苑兴起的一种文化现象,陈绶祥《新文人画艺术》(吉林美术出版社1999年版)可以参考。
(5)比玄宰早近二百年的明初王绂在《书画传习录》中说:“王右丞胸次潇洒,文人之画自其始。”但《书画传习录》一书真伪有争议,故应存而不论。
(6)明·董其昌:《画旨》,王伯敏、任道斌主编《画学集成》(明-清)本,页218。
(7)金梁:《盛京故宫书画录》,俞剑华编著《中国古代画论类编》本,页758。
(8)明·董其昌:《画旨》,王伯敏、任道斌主编《画学集成》(明-清)本,页218。
(9)清·永2)等撰:《四库全书总目》卷一一三《子部·艺术类二·画史会要五卷》,页965上栏。
(10)魏·何晏注,宋·邢昺疏:《论语注疏》卷第十三《子路》:“子路曰:‘卫君待子而为政,子将奚先?’子曰:‘必也正名乎!’子路曰:‘有是哉,子之迂也!奚其正?’子曰:‘野哉,由也!。君子于其所不知,盖阙如也。名不正则言不顺,言不顺则事不成,事不成则礼乐不兴,礼乐不兴则刑罚不中,刑罚不中则民无所措手足,故君子名之必可言也,言之必可行也。君子于其言,无所苟而已矣。’”李学勤主编《十三经注疏》本,页171。
(11)周积寅、耿建主编:《俞剑华美术史论集》,页290。
(12)凡本文用《中国文人画通鉴》皆据此本,以下不赘录。
(1)转引自张安治《论文人画》,氏著《中国画与画论》,页2。
(2)凡本文用《关于文人画史的思辨》皆据此本,以下不赘录。
(3)凡本文用《宋徽宗与文人画》皆据此本,以下不赘录。
(4)张其凤:《宋徽宗与文人画》,页46-47。
(5)卢辅圣:《中国文人画通鉴》第一章第三节《独特的趣味标准》,页20。
(1)滕固:《关于院体画和文人画之史的考察》,顾森李树声主编《百年中国美术经典》(第一卷)本,页121。
(2)凡本文用《论文人画》皆据此本,以下不赘录。
(1)卢辅圣:《中国文人画通鉴》,页7。
(2)董其昌等“南北宗”论的“南宗”系谱中有“二米”,没有苏轼;邹一桂“士大夫画”系谱中没有苏轼,而“文人画”中有“三苏父子”等可证。另,关于文同、苏轼、“大小米”画品的最近研究,请参见韩刚《迈往凌云---米芾书画考论》(人民美术出版社2010年版);关于“文人画”、“士人画”的最近研究,请参考韩刚、黄凌子:《中国古代物质文化史·绘画·卷轴画·宋》(开明出版社2014年版)。再,前贤多认为“逸品”与“文人画”关系紧密,而据笔者考察,“逸品”与“士人画”关系密切,与“文人画”无关。
(1)明·董其昌:《容台集》,四库全书存目丛书本。
(2)清·邹一桂:《小山画谱》,王伯敏、任道斌主编《画学集成》(明-清)本,页465。
(3)唐·张彦远:《历代名画记》卷六,于安澜编《画史丛书》(一)本,页82。