董其昌南北宗问题初探
摘要
中国山水画艺术源远流长,名家辈出,流派纷呈,但由于习惯于一种“述而不作”的思维模式,对山水画的研究缺少一种系统的论述及流派的归纳,而南北宗却在这方面迈出了第一步,标志着中国美术史上第一个画派论的发轫。尽管南北宗在理论上还不够精确、在逻辑上也不严密,但作为一种新的理论,它带有思想方法上的拓展和美学观念上的更新。
董其昌提出南北宗问题,乃是中国文化发展史以及文人艺术脉络演进的必然环节。明代的文艺运动,主题是恢复古典正统,关注人的主体和心灵。其思想蔓延和渗透到各个文艺领域:在戏剧界以汤显祖为代表,在文学界以袁宏道为代表,在绘画界则以董其昌为代表,尤其彰显在崇尚中国绘画艺术中唐宋以降的文人画中。关于南北宗问题,亦属一个名实之辩的问题,其实质在借以阐明南北宗之外的文化内涵和艺术精神、人性追求。在明代,董其昌是一个身份“复杂”而影响力大的人物,他与正统的派别关系密切,也与反叛思想家如李贽等有交往;他身为儒生,但信奉佛禅之理,以“画禅室”额其居,并修养殊深;他热爱传统,同时又鼓吹张扬个性,与当时的文坛领袖王世贞情绪对立,但与反对复古的“公安派”相互欣赏。董其昌一生的艺术活动,包括了鉴赏、批评与创作三个主要领域,且各有大成。董其昌关于南北宗理论的阐发,其价值并不在区分或者划定南北宗与派别,其意义却在于为中国画的笔墨立一极则,从理论上评判出什么样的笔墨为最好的笔墨,同时启示出确立艺术风格的重要性。董其昌注目于各画派之间的风格差异,以自己独到的艺术史观,把笔墨符号与图式风格问题推了出来。
董其昌的南北宗问题,无疑是一种高瞻远瞩的深刻学说,不管其主观意识与否,他的理论及其作品,确实引导和推动了中国绘画史上的又一个壮观的山水时代,他的画直接影响到清初的四王和八大、石涛,在董其昌之后,山水画史的天空中又一次群星璀璨,王时敏、王鉴、倪元璐、萧云从、程铮揆、程邃、弘仁、石溪、法若真、查士标、龚贤........石涛等先后辉映于明末清初画坛。这些大画家几乎都是祖述南宗,不能不惊叹南宗的魅力,天下之能事未毕!
尽管董其昌的南北宗问题一直颇受争议,但在新时代里又一次进行探索也许会起到抛砖引玉的作用。本文尽可能从南北宗的精神内涵入手,在多方领域里展开细致分析,归纳出其审美价值及独特的意义。
An art of Chinese mountains-and-waters paintings has a long history,and there were many person of academic and styles existed in this field.Because they addicted in a thinking model of explanation without experience,as a result,a systematic statement and deduction of their style are inadequate during the research on mountains-and-waters paintings.But the faction in northern and southern china, which stood for a new origin for theory of Chinese painting,made great progress on the subjects.Although the theory was not exact and illogic,but as a new theory,it was a expansion on the methodology and updating on aesthetic ideas.
The subjects on southern and northern faction which Dong Qichang advocated was an indispensable chain in the development of Chinese art and evolution of artists. The theme of art movement happened in Ming Dynasty was to reset the position of the classical and concerned the object of art and their minds.The ideas from the art movement had been brought into all art fields,for example,Tang Xianzu was the representative in the field of drama,Yuan Hongdao in the field of literature,and Dong Qichang in the field of painting,especially in the painting works which displayed admiration of Chinese painting during the Tang Dynasty and Song Dynasty.The subjects on southern and northern faction were also argumentations between essence and appearance,their purposes of inner instincts was to expound the cultural meaning, spirits and seek for humanity.In Ming Dynasty,Dong Qichang,who had a complicated background,affected lots of other artists.He had close link with authentic faction and contacted with revolt thinkers including Li Zhi.Although he was a Confucian scholar with extremely high talents,he believed in Buddhism,and made Buddhist room as his room name,and loved tradition,at the same time,he advocated personality on the contrast of literature leader Wang Shizhen.Dong Qichang and Gong An Faction admired each other.In his life time,Dong Qichang was active in the fields of art appreciation,art criticism and art experience,and he had lots of achievements.The value of his theory on southern and northern faction was to set a principle for Chinese painting rather than divided them into two factions,and he pointed out which style of brushwork was the best,illuminated the importance of art form.Dong Qichang focused on differences between different arts,and pointed out the problems of sign and vision style.
There was no doubt that subject on the in southern and northern faction,which Dong qichang pioneered was impressive.Whether his theory was objective or not,his theory and workings which led and developed the business of Chinese painting, brought prosperous times in the history of Chinese paintings.His painting had effected the Four Wang,the Eight artists and shi tao directly in the early Qing Dynasty,after Dong Qichang,there came lots of famous artists,including Wang Shimin,Wang Jian,Ni Yunlu,Xiao Yuncong,Cheng Zhengkui,Cheng Sui,Hong Ren, Shi Xi,Fa Ruozhen,Zha Shibiao,Gong Xian,and so on.After Ming Dynasty and before Qing Dynasty,Shi Tao and other artists were active in the field of painting. They were mostly the southern faction which got a lot of frame from people,thus, there was no end to those studies.
Although the subjects advocated by Dong Qichang was controversial from then on.We can acquire something useful which casts a brick to attract jade in our new times.This article tries to study the subjects from the meaning of spirit of the southern and northern faction,and analyzes some other fields in detail to reach a conclusion of its aesthetic value and special meaning.
董其昌提出南北宗问题,乃是中国文化发展史以及文人艺术脉络演进的必然环节。明代的文艺运动,主题是恢复古典正统,关注人的主体和心灵。其思想蔓延和渗透到各个文艺领域:在戏剧界以汤显祖为代表,在文学界以袁宏道为代表,在绘画界则以董其昌为代表,尤其彰显在崇尚中国绘画艺术中唐宋以降的文人画中。关于南北宗问题,亦属一个名实之辩的问题,其实质在借以阐明南北宗之外的文化内涵和艺术精神、人性追求。在明代,董其昌是一个身份“复杂”而影响力大的人物,他与正统的派别关系密切,也与反叛思想家如李贽等有交往;他身为儒生,但信奉佛禅之理,以“画禅室”额其居,并修养殊深;他热爱传统,同时又鼓吹张扬个性,与当时的文坛领袖王世贞情绪对立,但与反对复古的“公安派”相互欣赏。董其昌一生的艺术活动,包括了鉴赏、批评与创作三个主要领域,且各有大成。董其昌关于南北宗理论的阐发,其价值并不在区分或者划定南北宗与派别,其意义却在于为中国画的笔墨立一极则,从理论上评判出什么样的笔墨为最好的笔墨,同时启示出确立艺术风格的重要性。董其昌注目于各画派之间的风格差异,以自己独到的艺术史观,把笔墨符号与图式风格问题推了出来。
董其昌的南北宗问题,无疑是一种高瞻远瞩的深刻学说,不管其主观意识与否,他的理论及其作品,确实引导和推动了中国绘画史上的又一个壮观的山水时代,他的画直接影响到清初的四王和八大、石涛,在董其昌之后,山水画史的天空中又一次群星璀璨,王时敏、王鉴、倪元璐、萧云从、程铮揆、程邃、弘仁、石溪、法若真、查士标、龚贤........石涛等先后辉映于明末清初画坛。这些大画家几乎都是祖述南宗,不能不惊叹南宗的魅力,天下之能事未毕!
尽管董其昌的南北宗问题一直颇受争议,但在新时代里又一次进行探索也许会起到抛砖引玉的作用。本文尽可能从南北宗的精神内涵入手,在多方领域里展开细致分析,归纳出其审美价值及独特的意义。
An art of Chinese mountains-and-waters paintings has a long history,and there were many person of academic and styles existed in this field.Because they addicted in a thinking model of explanation without experience,as a result,a systematic statement and deduction of their style are inadequate during the research on mountains-and-waters paintings.But the faction in northern and southern china, which stood for a new origin for theory of Chinese painting,made great progress on the subjects.Although the theory was not exact and illogic,but as a new theory,it was a expansion on the methodology and updating on aesthetic ideas.
The subjects on southern and northern faction which Dong Qichang advocated was an indispensable chain in the development of Chinese art and evolution of artists. The theme of art movement happened in Ming Dynasty was to reset the position of the classical and concerned the object of art and their minds.The ideas from the art movement had been brought into all art fields,for example,Tang Xianzu was the representative in the field of drama,Yuan Hongdao in the field of literature,and Dong Qichang in the field of painting,especially in the painting works which displayed admiration of Chinese painting during the Tang Dynasty and Song Dynasty.The subjects on southern and northern faction were also argumentations between essence and appearance,their purposes of inner instincts was to expound the cultural meaning, spirits and seek for humanity.In Ming Dynasty,Dong Qichang,who had a complicated background,affected lots of other artists.He had close link with authentic faction and contacted with revolt thinkers including Li Zhi.Although he was a Confucian scholar with extremely high talents,he believed in Buddhism,and made Buddhist room as his room name,and loved tradition,at the same time,he advocated personality on the contrast of literature leader Wang Shizhen.Dong Qichang and Gong An Faction admired each other.In his life time,Dong Qichang was active in the fields of art appreciation,art criticism and art experience,and he had lots of achievements.The value of his theory on southern and northern faction was to set a principle for Chinese painting rather than divided them into two factions,and he pointed out which style of brushwork was the best,illuminated the importance of art form.Dong Qichang focused on differences between different arts,and pointed out the problems of sign and vision style.
There was no doubt that subject on the in southern and northern faction,which Dong qichang pioneered was impressive.Whether his theory was objective or not,his theory and workings which led and developed the business of Chinese painting, brought prosperous times in the history of Chinese paintings.His painting had effected the Four Wang,the Eight artists and shi tao directly in the early Qing Dynasty,after Dong Qichang,there came lots of famous artists,including Wang Shimin,Wang Jian,Ni Yunlu,Xiao Yuncong,Cheng Zhengkui,Cheng Sui,Hong Ren, Shi Xi,Fa Ruozhen,Zha Shibiao,Gong Xian,and so on.After Ming Dynasty and before Qing Dynasty,Shi Tao and other artists were active in the field of painting. They were mostly the southern faction which got a lot of frame from people,thus, there was no end to those studies.
Although the subjects advocated by Dong Qichang was controversial from then on.We can acquire something useful which casts a brick to attract jade in our new times.This article tries to study the subjects from the meaning of spirit of the southern and northern faction,and analyzes some other fields in detail to reach a conclusion of its aesthetic value and special meaning.
引文
1樊波,《董其昌》,吉林美术出版社,1996.
1董其昌,《画禅室随笔》卷一《评法书》
1董其昌,《画禅室随笔》卷四
2董其昌,《容台文集》“戏鸿堂稿自序”
3董其昌,《画禅室随笔》卷一“临十三行跋”
4安歧,《墨缘汇观·法书·晋陆机平复帖》
5董其昌,《容台别集》卷四《画旨》
6董其昌,《画禅室随笔》
1张廷玉,《明史》
2吴升,《大观录》
1章有谟,《景船斋杂记》
2董其昌,《神庙留中奏疏汇要》
3董其昌,《神庙留中奏疏汇要》
1董其昌,《画禅室随笔》
2李瑞清,《玉梅花庵》
3董其昌,《画禅室随笔》《评法书》
1董其昌,《容台别集》卷四
2董其昌,《容台别集》卷二“论画”
3刘纲纪,《董其昌在中国绘画史上的地位》
1董其昌,《画旨》
2董其昌,《画旨》
3大村西崖,《中国美术史》
1张连,《南北宗论刍议》
2俞剑华,《中国山水画的南北宗论》
3葛路,《中国古代绘画理论发展史》
4余绍宋,《书画书录解题》
1徐复观,《中国艺术精神》
2徐复观,《中国艺术精神》
1傅申,《画说作者问题研究》
2陈继儒,《白石樵真稿》卷二十一
1董其昌,《画禅室随笔》卷四
1董其昌,《画旨》
1沈颢,《画麈·分宗》
1陈传席,《董其昌和南北宗论》
1张彦远,《历代名画记》
2郭若虚,《图画见闻志》卷三他
3郭若虚,《图画见闻志》
1《明史会要》
1陈继儒,《偃曝余谈》
2陈继儒,《容台集·序》
1李肇,《唐国史补》
2《唐书·王维传》
1赵希鹄,《洞天清录》
2李日华,《恬致堂集》
1张彦远,《历代名画记》卷十
1王维,《王右丞集》
1唐志契,《绘画微言》
1李易修,《小蓬莱阁画鉴》
1董其昌,《画禅室随笔》“禅悦”,中国书店,1983.
1李贽,《李贽文集》(第1卷),社会科学文献出版社,2000.
2黄仁宇,《万历十五年》,三联书店,,1997.
3邵宏,严善《董其昌在晚明文化运动中的立场》载自《朵云》,1989
4郭朋,《<坛经>对勘》,齐鲁书社,1981.
1董其昌,《画禅室随笔》“评文”,中国书店,1983.
1董其昌,《容台别集》卷一
2《历代诗话·东坡诗话》
1张彦远,《历代名画记》卷一《论画六法》
2张彦远,《历代名画记》卷六
3张彦远,《历代名画记》
1空海,《文镜秘府》
1引自《外国学者论中国画》,陈卫和译何著《董其昌的新正统观念及南宗说》
1引《画禅室随笔》、《画旨》、《画眼》
2李约瑟《中国科学技术史》
1载《朵云》1990年第1期
2《河南师大学报》1981年第2期
1徐复观,《中国艺术精神》
1 《容台别集》卷四
1 顾起元,《客座赘语》
2 董其昌,《画禅室随笔》
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1董其昌,《画禅室随笔》卷一《评法书》
1董其昌,《画禅室随笔》卷四
2董其昌,《容台文集》“戏鸿堂稿自序”
3董其昌,《画禅室随笔》卷一“临十三行跋”
4安歧,《墨缘汇观·法书·晋陆机平复帖》
5董其昌,《容台别集》卷四《画旨》
6董其昌,《画禅室随笔》
1张廷玉,《明史》
2吴升,《大观录》
1章有谟,《景船斋杂记》
2董其昌,《神庙留中奏疏汇要》
3董其昌,《神庙留中奏疏汇要》
1董其昌,《画禅室随笔》
2李瑞清,《玉梅花庵》
3董其昌,《画禅室随笔》《评法书》
1董其昌,《容台别集》卷四
2董其昌,《容台别集》卷二“论画”
3刘纲纪,《董其昌在中国绘画史上的地位》
1董其昌,《画旨》
2董其昌,《画旨》
3大村西崖,《中国美术史》
1张连,《南北宗论刍议》
2俞剑华,《中国山水画的南北宗论》
3葛路,《中国古代绘画理论发展史》
4余绍宋,《书画书录解题》
1徐复观,《中国艺术精神》
2徐复观,《中国艺术精神》
1傅申,《画说作者问题研究》
2陈继儒,《白石樵真稿》卷二十一
1董其昌,《画禅室随笔》卷四
1董其昌,《画旨》
1沈颢,《画麈·分宗》
1陈传席,《董其昌和南北宗论》
1张彦远,《历代名画记》
2郭若虚,《图画见闻志》卷三他
3郭若虚,《图画见闻志》
1《明史会要》
1陈继儒,《偃曝余谈》
2陈继儒,《容台集·序》
1李肇,《唐国史补》
2《唐书·王维传》
1赵希鹄,《洞天清录》
2李日华,《恬致堂集》
1张彦远,《历代名画记》卷十
1王维,《王右丞集》
1唐志契,《绘画微言》
1李易修,《小蓬莱阁画鉴》
1董其昌,《画禅室随笔》“禅悦”,中国书店,1983.
1李贽,《李贽文集》(第1卷),社会科学文献出版社,2000.
2黄仁宇,《万历十五年》,三联书店,,1997.
3邵宏,严善《董其昌在晚明文化运动中的立场》载自《朵云》,1989
4郭朋,《<坛经>对勘》,齐鲁书社,1981.
1董其昌,《画禅室随笔》“评文”,中国书店,1983.
1董其昌,《容台别集》卷一
2《历代诗话·东坡诗话》
1张彦远,《历代名画记》卷一《论画六法》
2张彦远,《历代名画记》卷六
3张彦远,《历代名画记》
1空海,《文镜秘府》
1引自《外国学者论中国画》,陈卫和译何著《董其昌的新正统观念及南宗说》
1引《画禅室随笔》、《画旨》、《画眼》
2李约瑟《中国科学技术史》
1载《朵云》1990年第1期
2《河南师大学报》1981年第2期
1徐复观,《中国艺术精神》
1 《容台别集》卷四
1 顾起元,《客座赘语》
2 董其昌,《画禅室随笔》
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[47]罗安宪《虚静与逍遥--道家心性论研究》人民出版社 2005.9
[48]陈传席《董其昌和南北宗论》引自《朵云》23期
[49]陈鼓应《老子今注今译》商务印书馆 2005.4
[50]伍蠡甫《伍蠡甫艺术美学文集》复旦大学出版社 1986.7
[51]林木《文人画》上海人民美术出本社 1986.
[52]董其昌《画禅室随笔·杂言上》艺林名著丛刊 中国书店 1983.
[53]张弘《中国山水画名作欣赏》远方出版社 2004.4
[54]丁羲元《南北宗新论》引自《朵云》23期
[55]贾德江《董其昌-中国画名家经典画库·古代部分》河北美术出版社 1996.12
[56]王琪森 董其昌“南北宗”新考及新论引自《朵云》23期