空孤冷逸:渐江绘画的悲情美
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摘要
渐江是明末清初的山水画家,他创造了空境、清冷、静谧、孤寂的画风并将其推向极致,使其山水画具有强烈的象征意义,无论从意境还是技法上都显现出独特的风格。他创造的"家国山河皆空"的悲情图式,构筑了群体在朝代更迭中失落的心理结构,为中国山水画的美学范畴开辟了一种新图式。
Jianjiang was a landscape painter in the late Ming and early Qing dynasties. He created the empty,chilly,quiet and solitary style and pushed it to perfection,so that his landscape paintings possessed a strong symbolic significance,both his artistic conception and techniques displayed a unique style. He created the tragic pattern of "disintegrated family and country,as well as ruined mountains and rivers",having constructed the group's lost psychological structure in the dynasty changes,and opened up a new pattern for the aesthetic category of Chinese landscape paintings.
Jianjiang was a landscape painter in the late Ming and early Qing dynasties. He created the empty,chilly,quiet and solitary style and pushed it to perfection,so that his landscape paintings possessed a strong symbolic significance,both his artistic conception and techniques displayed a unique style. He created the tragic pattern of "disintegrated family and country,as well as ruined mountains and rivers",having constructed the group's lost psychological structure in the dynasty changes,and opened up a new pattern for the aesthetic category of Chinese landscape paintings.
引文
[1]朱良志.水不流花不开的寂寞[J].艺术百家,2009(5):52-62.
[2]徐卫新.黄山画人录[M].合肥:黄山书社,1991.
(1)转引自汪超国:《坐破苔衣第几重,梦中三十六芙蓉》,载于《徽州社会科学》2008年第1期。
(2)转引自汪荣强:《浅析渐江山水画中的笔墨特色》,载于《美术观察》2014年第4期。
(3)转引自任军伟:《查士标眼中的渐江绘画》,载于《荣宝斋》2014年第3期。
[2]徐卫新.黄山画人录[M].合肥:黄山书社,1991.
(1)转引自汪超国:《坐破苔衣第几重,梦中三十六芙蓉》,载于《徽州社会科学》2008年第1期。
(2)转引自汪荣强:《浅析渐江山水画中的笔墨特色》,载于《美术观察》2014年第4期。
(3)转引自任军伟:《查士标眼中的渐江绘画》,载于《荣宝斋》2014年第3期。