元代山水绘画对宋代绘画的接受与发展研究
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摘要
在中华文明的进程中,绘画始终是伴随着社会的发展而前行的。越是战乱动荡的年代也越是文化思想相对开放的时代,也越是新的观念形成的时代:魏晋的玄学盛行、五代北方山水画派的崛起,都是在特殊的历史环境下形成的。就绘画史发展而言前代的绘画总是给后代的绘画以巨大影响,后代的绘画又总是要继承前代绘画的成果,从而推动着绘画史的发展。其中丰富而深厚的文化传统、坚实而新颖的美学思想、卓越不群的人格力量,还有官方的认可程度等等,所有这些都是非常必要的。元朝是中国历史上一个极为特殊的时代:外族入主中原,民族矛盾激化,社会文化危机重重,释道盛行而儒学不振,元统治者推行民族歧视政策闲置了大批的辅政文人。为了摆脱“学而优则仕”的理想不能实现的苦闷、为了挣脱名利的羁绊,士人们把更多的时间投向了书画创作,以求得自我人格的完善和精神上的慰籍。由此士人成为了书画创作的主力军。他们以特有的文人气质接受了董巨画派平和之风、折中了李郭画派刚猛之法、摒弃了南宋画院刻薄之气;转变审美观念、以书入画、以情结境。完成了由写实笔墨语言向写意笔墨语言的转型,成就了重“心境”、重写意精神的元代画风。本文试图运用接受理论原理就元代山水绘画对宋代绘画的接受与发展进行论述,阐明其嬗变与发展规律。论述关注点是元代山水绘画对宋代绘画的接受与发展中绘画风格的转型(由重“物镜”到重“心境”),并以此为主线而展开。文章由四部分组成:第1章元代山水绘画概况;元代早期绘画和中后期绘画特征明显。早期绘画以赵孟頫、钱选、高克恭为代表。其中赵孟頫深得元统治者宠信而辅政五朝,地位显赫,加上其诗书画俱精而成为画坛盟主。赵仰慕董巨画风倡导“古意”、主张师造化。身体力行积极推行以书入画的创作思路,为“元四家”的崛起铺平了道路。中后期以“元四家”为代表,他们一脉相承的接收了董巨风范,沿着赵孟頫指明的方向终于开辟了逸格简率、淡雅空灵的元画之风。此外,李成、郭熙传派也有一定的影响,代表画家曹知白、朱德润、唐棣、姚彦卿成就最大:马远、夏圭传派以孙君泽、卢师道、丁野夫、陈君佑为代表,与前两派相比影响小的多。第2章元代山水绘画对宋画的接受;2.1绘画观念的接受元代画家相对两宋重理学的绘画思想他们更倾向于接受重意趣的文人画思想。苏东坡注重意趣的提出、米芾主张绘画功能的自娱论、晁补之的“遗物以观物”等观点皆是注重心境的抒发,这些都成了元代画风形成的理论基础。对两宋其他绘画理论的接受则更多的表现为潜移默化的实践运用了。例如:郭熙提出“身即山川以取支”的美学命题,赵孟頫、“元四家”为代表的元画家皆是注重写生,亲近自然的;郭熙提出“三远”的美学命题更是被元画家自觉运用。黄公望在其代表作《富春山居》中成功地运用了平远、高远、深远构图法,随着观察点不断的变化打破了平板的构图同时也深化了意境的传达;倪瓒更是活用“三远”之法,画面愈远愈高,脱俗之境呼之欲出。2.2笔墨图示的接受元画家一脉相承的接受了董巨风范、折中了李郭刚猛之法、摒弃了南宋刻薄之风。第3章元代山水绘画对宋画的发展表现为;3.1追求逸格的审美观念这一美学命题成为元代画风形成的理论支柱。3.2笔墨图示的发展完成了元代山水绘画重写意风格之变。3.3绘画材料的发展3.4绘画形式的成熟(诗书画印四位一体的结合)第4章结束语。
In the progress of the China civilization, the painting always accompanies with social of development .More is the age which fights a disorderly turbulence also more is a culture thought opposite open of the ages that the new idea become:The metaphysics of Weijin generation is widely accepted, Five generation northern landscape paintings send of rising, all become under the special history environment.Painting history development but talk the painting of ex- generation always to the painting of posterity with the huge influence, the painting of posterity always needs to inherit ex- generation the result of the painting again and push the development of painting history thus. Among them the traditional and solid but novel esthetics thought of abundant but deep culture, outstanding not the personality strength of the cluster, also have authorities of approve degree etc., all all of these are very necessary.Yuan Dynasty is a Chinese history previous extremely special ages:The foreign tribe goes into lord China, the race antinomy arouses to turn, the social cultural crisis is layer after layer and release a way to spread widely but the Confucianism learn not to flap, the dollar ruler promotes a race bias a policy idle the assist of large quantity government scholar.For getting away from "learn and excellent then serve" of ideal fall through of depressed, for flouncing the fetters of fame and wealth, private people throw more time to the calligraphy and painting create, in order to get ego personality of perfect with the encourage on the spirit.From here the private person became the main force of the calligraphy and painting creations.They accepted a gentle painting parties of Dongju by special scholar qualities and compromised Liguo a painting a parties just a fierce method and abandonned south Sung to draw the spirit of hospital asperity;Change esthetic sense, go into a painting by calligraphy and knot realm by feeling.Completed to achieve heavy"mood" and rewrite the idea spirit in the Yuan Dynasty a generation painting breeze to the transformation of comfortable calligraphy language from the realistic calligraphy language.This text tries an usage to accept theories principle the landscape painting with essential generation in the Yuan generation accept Sung generation painting to carry on treatise with development and clarify its change with development regulation.Discuss the concern order is a Yuan generation essential landscape painting accepts Sung generation painting and the painting style in the development of transformation(from heavy"thing mirror" to heavy"mood"), and take this as main line but launch.The article constitutes is divided into four-part cent:
1:Yuan generation earlier period painting with medium behind expect a painting characteristic obviously.In early days painting with Zhao Mengfu, Qianxuan, Gao Kegong is representative.Among them, Zhao Mengfu enjoys a ruler to spoil letter and assists government five dynasties, the position is imposing , his poem calligraphy and painting are highest level, then become drawing altar leader of alliance. Admires Dongju to draw breeze to initiate "ancient idea" and lay claim to teacher to build to turn.Earnestly practice to actively promote to go into the creations way of thinking of the painting by calligraphy, for"Four artist in the Yuan dynasty" of rising spread even road.Medium expect to take" Four artist in the Yuan Dynasty " as a representative behind, they a vein mutually accepts of received Dongju's manner, along Zhao Mengfu indicate of the direction finally developped natural humour space , elegantly simple and light and free painting in the Yuan dynasty .In addition, Licheng, Guoxi spreads a parties to also have certain influence, representative's painter Cao zhibai, Zhu Derun, Tangdi, Yao Yanqing achievement biggest;Mayuan, Xiagui spreads a parties with Sun Junze, Lu Shidao, Ding Yefu Chen Junyou for representative, they are lettle compare influence with ex- two partieseses .
2 :Yuan generation essential landscape painting to Sung draw of accept;(1)The painting that accept of painting idea's Yuan generation painter's opposite two Sungs heavy reasons learn thought they more a trait of accept a heavy idea an interest of the scholar painting thought. The heavy idea not heavy form, Mifu and Su Dongpo lays claim to the amuse oneself of painting function ory, "The keepsake is with the view thing"idea of Chao Buzhi pay attention to express of mood, these theorieses foundations which all became a painting breeze formationin the Yuan generation.Accept two Sungs other painting theorieses then more performances for change and influence imperceptibly of the fulfillment made use of.For example:The Guo Xi puts forward the esthetics of "body namely mountain and stream with take it" to set question, Zhao Mengfu , "Four artist in the Yuan dynasty" pays attention to a sketch , become intimate with natural .The Guoxi puts forward the esthetics of "three far" to set question to be even aware of self by the Yuan dynasty painter .Huang Gongwang successfully made use of in its representative work《the live in the mountains of Fuchun》even far, hight, profound composition method, ordered continuous variety to break the composition of flat panel to also deeply turn inform of artistic conception in the meantime along with the observation.Ni Zan lives more to use "three far" its method, the appearance is the farer the higher, and the free from vulgarity seem ready to come out.(2)The pen and ink diagram show of accept a vein in the Yuan dynasty painter to mutually accept of accepted Dongju's manner and compromised Li Guo just a fierce method and abandonned south Sung mean breeze.
3: In the Yuan dynasty essential landscape painting to Sung's development performance of the painting is;(1)The theories which pursues the esthetic sense of "escape" space this esthetics to set question to become a Yuan generation painting breeze formation pays pillar.(2) The development that the pen and ink diagram show completed landscape a painting to rewrite idea style to change in the Yuan dynasty.(3)The development of the painting material (4)Form of mature(the poem calligraphy and painting print combine of four integral whole)
4:Be over languages.
In the progress of the China civilization, the painting always accompanies with social of development .More is the age which fights a disorderly turbulence also more is a culture thought opposite open of the ages that the new idea become:The metaphysics of Weijin generation is widely accepted, Five generation northern landscape paintings send of rising, all become under the special history environment.Painting history development but talk the painting of ex- generation always to the painting of posterity with the huge influence, the painting of posterity always needs to inherit ex- generation the result of the painting again and push the development of painting history thus. Among them the traditional and solid but novel esthetics thought of abundant but deep culture, outstanding not the personality strength of the cluster, also have authorities of approve degree etc., all all of these are very necessary.Yuan Dynasty is a Chinese history previous extremely special ages:The foreign tribe goes into lord China, the race antinomy arouses to turn, the social cultural crisis is layer after layer and release a way to spread widely but the Confucianism learn not to flap, the dollar ruler promotes a race bias a policy idle the assist of large quantity government scholar.For getting away from "learn and excellent then serve" of ideal fall through of depressed, for flouncing the fetters of fame and wealth, private people throw more time to the calligraphy and painting create, in order to get ego personality of perfect with the encourage on the spirit.From here the private person became the main force of the calligraphy and painting creations.They accepted a gentle painting parties of Dongju by special scholar qualities and compromised Liguo a painting a parties just a fierce method and abandonned south Sung to draw the spirit of hospital asperity;Change esthetic sense, go into a painting by calligraphy and knot realm by feeling.Completed to achieve heavy"mood" and rewrite the idea spirit in the Yuan Dynasty a generation painting breeze to the transformation of comfortable calligraphy language from the realistic calligraphy language.This text tries an usage to accept theories principle the landscape painting with essential generation in the Yuan generation accept Sung generation painting to carry on treatise with development and clarify its change with development regulation.Discuss the concern order is a Yuan generation essential landscape painting accepts Sung generation painting and the painting style in the development of transformation(from heavy"thing mirror" to heavy"mood"), and take this as main line but launch.The article constitutes is divided into four-part cent:
1:Yuan generation earlier period painting with medium behind expect a painting characteristic obviously.In early days painting with Zhao Mengfu, Qianxuan, Gao Kegong is representative.Among them, Zhao Mengfu enjoys a ruler to spoil letter and assists government five dynasties, the position is imposing , his poem calligraphy and painting are highest level, then become drawing altar leader of alliance. Admires Dongju to draw breeze to initiate "ancient idea" and lay claim to teacher to build to turn.Earnestly practice to actively promote to go into the creations way of thinking of the painting by calligraphy, for"Four artist in the Yuan dynasty" of rising spread even road.Medium expect to take" Four artist in the Yuan Dynasty " as a representative behind, they a vein mutually accepts of received Dongju's manner, along Zhao Mengfu indicate of the direction finally developped natural humour space , elegantly simple and light and free painting in the Yuan dynasty .In addition, Licheng, Guoxi spreads a parties to also have certain influence, representative's painter Cao zhibai, Zhu Derun, Tangdi, Yao Yanqing achievement biggest;Mayuan, Xiagui spreads a parties with Sun Junze, Lu Shidao, Ding Yefu Chen Junyou for representative, they are lettle compare influence with ex- two partieseses .
2 :Yuan generation essential landscape painting to Sung draw of accept;(1)The painting that accept of painting idea's Yuan generation painter's opposite two Sungs heavy reasons learn thought they more a trait of accept a heavy idea an interest of the scholar painting thought. The heavy idea not heavy form, Mifu and Su Dongpo lays claim to the amuse oneself of painting function ory, "The keepsake is with the view thing"idea of Chao Buzhi pay attention to express of mood, these theorieses foundations which all became a painting breeze formationin the Yuan generation.Accept two Sungs other painting theorieses then more performances for change and influence imperceptibly of the fulfillment made use of.For example:The Guo Xi puts forward the esthetics of "body namely mountain and stream with take it" to set question, Zhao Mengfu , "Four artist in the Yuan dynasty" pays attention to a sketch , become intimate with natural .The Guoxi puts forward the esthetics of "three far" to set question to be even aware of self by the Yuan dynasty painter .Huang Gongwang successfully made use of in its representative work《the live in the mountains of Fuchun》even far, hight, profound composition method, ordered continuous variety to break the composition of flat panel to also deeply turn inform of artistic conception in the meantime along with the observation.Ni Zan lives more to use "three far" its method, the appearance is the farer the higher, and the free from vulgarity seem ready to come out.(2)The pen and ink diagram show of accept a vein in the Yuan dynasty painter to mutually accept of accepted Dongju's manner and compromised Li Guo just a fierce method and abandonned south Sung mean breeze.
3: In the Yuan dynasty essential landscape painting to Sung's development performance of the painting is;(1)The theories which pursues the esthetic sense of "escape" space this esthetics to set question to become a Yuan generation painting breeze formation pays pillar.(2) The development that the pen and ink diagram show completed landscape a painting to rewrite idea style to change in the Yuan dynasty.(3)The development of the painting material (4)Form of mature(the poem calligraphy and painting print combine of four integral whole)
4:Be over languages.
引文
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[16]傅抱石《傅抱石美术论文集》[M]上海上海古籍出版社 2003.9
[17]《倪瓒研究》 《朵云》第62集[J]上海 上海书画出版社 2005.1
[18]邵琦《中国画文脉》[M]上海 上海书画出版社 2005.1
[19]吕少卿《元四家绘画》[M]天津 天津人民美术出版社 2005.1
[20]潘运告《中国历代画论选》[M]长沙 湖南美术出版社 2007.1
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[22]徐复观 《中国艺术精神》[M]上海 华东师范大学出版社 2001
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[28]谭志湘 李一《中华艺术通史.元代卷》 北京师范大学出版社 2006.8
[29]邵琦 《中国山水画通鉴-----托古改制》 上海书画出版社
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[31]徐建融 徐书城《中国美术史·宋代卷》[M]济南 齐鲁书社 明天出版社 2000.12
[1]《东坡题跋》下卷《又跋汉杰画》)转引自徐建融 徐书城《中国美术史·宋代卷》[M]济南 齐鲁书社 明天出版社2000.12 第313页
[2]《苏东坡集》前集卷十六《书鄢陵王主簿折枝二首》之一转引自徐建融 徐书城《中国美术史·宋代卷》[M]济南 齐鲁书社 明天出版社2000.12第321页
[3]米芾《画史》转引自文彭莱《中国山水画鉴-----一片江南》上海书画出版社 第17页
[4]《答张藻仲书》。《清閟阁全集》卷十转引自潘运告《中国历代画论选》[M]长沙 湖南美术出版社2007.1第17页
[1]《跋画竹》《清閟阁全集》卷九转引自潘运告《中国历代画论选》[M]长沙 湖南美术出版社2007.1第18页
[2]吴镇语《佩文斋书画谱》转引自徐建融《元代书画藻鉴与艺术市场》上海书店出版社1999.11,第59页
[3]郭熙《林泉高致·山水训》转引自俞剑华《中国画论选读》江苏美术出版社2007.8第213页
[4]元赵孟頫题《苍林叠岫图》·《松雪斋文集》转引自陈传席《中国山水画史》天津美术出版社2001.1第245页
[5]黄公望《写山水诀》转引自潘运告《中国历代画论选》[M]长沙 湖南美术出版社2007.1第13页
[6]郭熙《林泉高致·山水训》转引自俞剑华《中国画论选读》江苏美术出版社2007.8第223页
[1]黄公望《写山水诀》转引自李来源,林木《中国古代画论发展史实》上海人民美术出版社1997.4第162页
[2]王时敏《西芦画跋》转引自徐建融《元代书画藻鉴与艺术市场》上海书店出版社1999.11第127页
[3]《元诗选二集·梅花庵稿》转引自徐建融《元代书画藻鉴与艺术市场》.上海书店出版社1999.11第54页
[1]《梦溪笔谈》卷17转引自文彭莱《中国山水画鉴-----一片江南》上海书画出版社 第74页
[2]《画史》转引自彭莱《中国山水画鉴-----一片江南》上海书画出版社 第17页
[3]《图画见闻志》转引自彭莱《中国山水画鉴-----一片江南》上海书画出版社 第75页
[4]徐书城《宋代绘画史》人民美术出版社2000.12第25页
[5]元 汤垕《画鉴》
[1]徐建融《元代书画藻鉴与艺术市场》 上海书店出版社1999.11 第9页
[2]郭熙《林泉高致·山水训》转引自俞剑华《中国画论选读》江苏美术出版社2007.8第210页
[3]黄公望《写山水诀》转引自潘运告《中国历代画论选》[M]长沙 湖南美术出版社2007.1第15页
[4]董其昌《画禅室随笔》转引自吕少卿《元四家绘画》天津人民美术出版社2005.1第23页
[5]董其吕跋《鹊华秋色图》转引自陈传席《中国山水画史》天津美术出版社2001.1第248页
[1]王原祁《麓台画跋·题仿大痴笔为陵陡唐益之作》转引自潘运告《中国历代画论选》[M]长沙 湖南美术出版社2007.1第176页
[2]王原祁《仿黄大痴长卷为郑年上作》转引自潘运告《中国历代画论选》[M]长沙 湖南美术出版社 2007.1第176页
[3]谢稚柳《鉴余杂稿》(徐建融 《元代15画藻鉴与艺术市场》 上海书店出1999.11第30页)
[4]董其昌《画禅室随笔》转引自潘运告《中同历代画论选》[M]长沙 湖南美术出版社 2007.1 第83页
[1]赵孟頫自跋画卷 张丑《清河书画舫》酉集 转引自 邵琦《中国山水画通鉴-----托古改制》上海书画出版社第15页
[2]陈传席文集》第三卷 第697页
[3]赵孟頫跋《长江雨霁图》转引自《陈传脂山水画史》 天津人民美术出版社 2001.1第197页
[4]倪瓒跋夏圭《千岩竞秀图》 。《清閟阁文集》
[1]王世贞 《艺苑厄言》转引自潘运告《中国历代画论选》[M]长沙 湖南美术出版社 2007.1第58页
[2]董其昌 《容台集》转引自谭志湘 李一《中华艺术通史.元代卷》北京师范大学出版社 2006.8第416页
[3]赵孟頫自题《秀石疏林图》转引自谭志湘 李一《中华艺术通史.元代卷》北京师范大学出版社 2006.8第417页
[4]《答张藻仲书》 《清閟阁全集》卷十转引自潘运告《中国历代画论选》[M]长沙 湖南美术出版社 2007.1第17页
[5]吴镇语《佩文斋书画谱》转引自徐建融 《元代书画藻鉴与艺术市场》 上海书店出版社 1999.11,第59页
[1]赵孟頫自跋画卷 张丑《清河书画舫》酉集 转引自 邵琦《中国山水画通鉴-----托古改制》上海书画出版社 第15页
[2]宗白华 《艺境》北京大学出版社 1997.9 第88页
[1]李日华《论画》转引自潘运告《中国历代画论选》[M]长沙 湖南美术出版社 2007.1第110页
[1]赵孟頫自题《秀石疏林图》转引白谭志湘 李一《中华艺术通史.元代卷》北京师范大学出版社 2006.8第417页
[2]倪瓒《用王叔明韵题图》
[3]倪瓒《题王叔明岩居高士图》《清閟阁全集》卷八)
[1]陈师曾《中国绘画史》中国人民大学出版社 2004.11第145页
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[3]徐建融 《元明清绘画十论》[M]上海复旦大学出版社 2004.12
[4]徐建融 《元代书画藻鉴与艺术市场》[M]上海 上海书店出版社 1999.11
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[6]陈传席 刘庆华[M]《精神的折射---中国山水画与隐逸文化》 1998.12
[7]陈传席《中国绘画美学史》[M]北京 人民美术出版社 2002.3
[8]陈传席《陈传席文集》[M]郑州 河南美术出版社
[9]陈传席《中国山水画史》[M]天津 天津人民美术出版社 2001.1
[10]俞建华《国画研究》[M]广西师范大学出版社 2005.8
[11]俞建华 《中国画论选读》[M]江苏美术出版社 2007.8
[12]周积寅 《中国画论辑要》[M]江苏美术出版社 2005.7
[13]叶郎 《中国美学史大纲》[M]上海 上海美术出版社 2005.12
[14]梅墨生《山水画述要》北京[M]北京图书馆出版社 2001.6
[15]杜哲森《中国绘画断代史·元代绘画》[M]北京 人民美术出版社
[16]傅抱石《傅抱石美术论文集》[M]上海上海古籍出版社 2003.9
[17]《倪瓒研究》 《朵云》第62集[J]上海 上海书画出版社 2005.1
[18]邵琦《中国画文脉》[M]上海 上海书画出版社 2005.1
[19]吕少卿《元四家绘画》[M]天津 天津人民美术出版社 2005.1
[20]潘运告《中国历代画论选》[M]长沙 湖南美术出版社 2007.1
[21]潘运告《宋人画评》[M]长沙 湖南美术出版社 1999
[22]徐复观 《中国艺术精神》[M]上海 华东师范大学出版社 2001
[23]李泽厚《美的历程》[M]北京 中国社会科学出版社 1984
[24]郭熙《林泉高致·山水训》《中国画辑要》[M]南京 江苏美术出版社 1985
[25]薛永年 赵力 尚刚《中国美术史·五代至宋元》[M]北京 中国人大学出版社 2004
[26]邱振亮 《血脉的回响---中国画与中国文化》[M]济南 山东美术出版社 1998.12
[27]令狐彪,《中国古代山水画百图》[M]人民美术出版社,1985 12
[28]谭志湘 李一《中华艺术通史.元代卷》 北京师范大学出版社 2006.8
[29]邵琦 《中国山水画通鉴-----托古改制》 上海书画出版社
[30]王伯敏.中国绘画通史(上.下)[M].上海:三联书社出版社,2000(12).
[31]徐建融 徐书城《中国美术史·宋代卷》[M]济南 齐鲁书社 明天出版社 2000.12