同濟(jì)大學(xué)中西藝術(shù)比較課程-文人畫家的態(tài)度(中)

1、文人畫的獨(dú)特性(1):文人畫家的藝術(shù)態(tài)度Uniqueness of Literati-painting(1): Artistic Attitude of Literati-painter胡 煒 博士、副教授Asso. Prof. Hu Wei04.12.2015 “五色令人目盲，五音令人耳聾，五味令人口爽，馳騁畋獵令人心發(fā)狂，難得之貨令人行妨。是以圣人，為腹不為目，故去彼取此。” 老子（活動于前571前471）老子.第十二章“The five colors cause a persons eyes to go blind.(目盲)The five tones cause a persons e

2、ars to go deaf（耳聾）,The five flavors cause a persons palate to be spoiled（口爽）.Racing and hunting cause a persons mind to run wild（發(fā)狂）.Goods that are hard to come by impede a persons actions.This is why the sage concerns himself with belly, not the eye.And why he rejects the one and chooses the other.

3、” -Laozi （active between571BCE-471BCE）“Daode Jing” 昔宋元君將畫圖，眾史皆至，受揖而立，砥筆和墨，在外者半，有一史后至，儃儃然不趨，受揖不立，因之舍，公使人視之，則解衣盤礴，蠃。君曰：可矣，是真畫者也。 莊子 田子方（前3世紀(jì)） 屈原（前3世紀(jì)）至於江濱，被髪行吟澤畔。顏色憔悴， “舉世渾濁而我獨(dú)清，眾人皆醉而我獨(dú)醒。”漁夫曰：“夫圣人者，不凝滯于物而能與世推移。舉世混濁，何不隨其流而揚(yáng)其波？眾人皆醉，何不哺其糟而啜其醴？何故懷瑾握瑜而自令見放為？” 司馬遷史記屈原賈生列傳 文人審美趣味的體現(xiàn)-逸品朱景玄（唐）唐朝名畫錄在神、妙、能三品之外另立

4、逸品王墨、李靈省、張志和黃休復(fù)（北宋）益州名畫錄逸、神、妙、能孫位Classification in Grades by QualitiesZhu Jinxuan(c.840)“Tang-chao Ming-hua Lu”Besideshe the Inspired Class, the Excellent Class, the Competent Class. Add Untrammeled Class as a new classWang Mo, Li Linsheng, Zhang ZhiheHuang Xiufu（c.1006） “Yi-Zhou Ming-hua Lu”Put the

5、 Untrammeled Class at the first placeSun Wei“非畫之本法”與人格之高逸相關(guān)聯(lián) 王墨：善潑墨畫山水、多游江湖間、性多疏野,好酒,凡欲圖畫幛，先飲，醺酣后，即以墨潑，或笑或吟，腳蹙手捉. 李靈?。郝渫胁痪袡z，常愛畫山水。每圖一幛，非其所欲，不即強(qiáng)為也。不拘于品格，自得其趣爾。 張志和：號曰煙波子，常漁釣于洞庭湖 ，隨句賦像，人物、舟船、鳥獸、煙波、風(fēng)月，皆依其文，曲盡其妙。 孫位：性情疏野，襟抱超然，禪僧道士常與往還，高貴相請，禮有少慢，縱贈千金，難留一筆松石墨竹，筆墨精妙. 逸品三人（王墨、李靈省、張志和） “李靈省，落托不拘撿，長愛畫山水。每圖一障，

6、非其所欲，不即強(qiáng)為也。但以酒生思，傲然自得，不知王公之尊貴。若畫山水、竹樹，皆一點(diǎn)一抹，便得其象，物勢皆出自然?；?yàn)榉遽齐H，或?yàn)閸u嶼江邊，得非常之體，符造化之功，不拘于品格，自得其趣爾。此三人，非畫之本法，故目之為逸品，蓋前古未之有也，故書之” 朱景玄(活動于9世紀(jì))唐朝名畫錄 “He (Li Lingsheng, 9th century)was undisciplined and never abided by the usual standards of excellence, but always loved landscape. Whenever he was painting on

7、 a screen. And it was not what he would have wished, he never forced himself to continue, for only in wine were his ideas born. He was proudly independent and did not recognize the prerogatives of princes and lords. When he painted a landscape, bamboo, or tree, he would achieve its image with a dot

8、and a stroke. The appearances of his objects issue entirely from nature.His work falls under no system of classification but achieves a flavor of its own. ”- Zhu Jingxuan(9th century) “Tangchao Minghua Lu” (Record of Famous Painters of the Tang dynasty)對主體精神在藝術(shù)中的價值強(qiáng)調(diào) “吳生雖妙絕，猶以畫工論；摩詰得之于象外，有如仙翮謝籠樊” （蘇

9、軾東坡集卷一鳳翔八觀王維吳道子畫） “世之工人，或能曲盡其形，而至于其理，非高人逸才不能辨” （蘇軾東坡集卷三十一凈因院畫記） “人品既已高矣，氣韻不得不高，氣韻既已高矣，生動不得不至，” （郭若虛論氣韻非師）詩畫一律以及蘇軾的繪畫理論 “論畫以形似，見與兒童鄰；詩畫本一律，天工與清新;”（書鄢陵王主簿所畫折枝二首） “觀士人畫如閱天下馬，取其意氣所到。乃若畫工，往往只取鞭策皮毛。糟櫪芻秣，無一點(diǎn)俊發(fā)，看數(shù)尺許便倦?！保ò蠞h杰畫山） “味摩詰之詩，詩中有畫；觀摩詰之畫，畫中有詩?！保〞υ懰{(lán)田煙雨圖） “Looking at scholars paintings is like judging

10、 the best horse of the empire, one sees how spirit has been brought out; but when it comes to artisan painters, one usually just gets whip and skin, stable and fodder, without a speck of superior achievement. After looking at a few feet or so one is tired.” “If anyone discusses painting in terms of

11、formal likeness, His understanding is nearly that of a child. if when someone composes a poem it must be a certain poem, He is definitely not a man who knows poetry. There is one basic rule in poetry and painting: natural genius and originality.” -Su Shi(1037-1101)Su Shi(1037-1101) , “A Dead Tree an

12、d a Grotesque Rock ”, rice paper, ink and wash米芾 (1051-1107), “珊瑚筆架圖”, 26.6x47.1cm，紙本，北宋，北京故宮博物院藏隸家畫趙子昂問錢舜舉曰： “如何是士夫畫?”錢舜舉曰： “隸家畫也?！弊影涸唬?“然觀之王維、李成、徐熙、李伯時，皆士夫之高尚者，所畫蓋與物傳神，盡其妙也。近世作士夫畫者，所謬甚矣。” -唐六如畫譜卷三引 王思善（元）士夫畫 “我朝善畫者甚多，若行家當(dāng)以戴文進(jìn)為第一，而吳小仙、杜古狂、周東村其次也。利家則以沈石田為第一，而唐六如、文衡山、陳白陽其次也。戴文進(jìn)畫尊老用鐵線描，間亦用蘭葉描。其人物描法，則蠶

13、頭鼠尾，行筆有頓跌，蓋用蘭葉描而稍變其法者，自是絕伎。其開相亦妙，遠(yuǎn)出南宋已后諸人之上。山水師馬、夏者亦稱合作。乃院體中第一手?！?（何良?。?5061573）四友齋畫論）Different Artistic Styles of Xu and HuangHuang Quan（903965）“Precious Birds by Painting from Nature”, color on silk, Palace Museum ,Beijing Zhang Xuan(713-755) detail of “Making silk by the court ladies”張萱(唐)搗練圖局部Gu

14、 Hongzhong (active in 10th century) “Han Xizais Night Revels” details, color on silk, Palace Museum, BeijingLi Gonglin(1049-1106) “Five Horses” detail，ink on paperCui Bai(active in 1056-1085) “Winter Sparrows”, Palace Museum崔白（活動于10561085）寒雀圖卷，故宮博物院 崔白(1004-1088) “寒雀圖卷 ” 局部，絹本，北京故宮博物院藏Zhao,Ji (Song

15、emperor Huizong,1082-1135), “Golden Pheasant and Cotton Rose Flowers”, National Palace Museum, TaipeiLi Di （12th-13th century） “Red Hibiscus Flower”李迪（南宋）紅芙蓉The Naturalism in 11th-13th century Related with Moral Cultivation Four steps of moral cultivation: 1.to rectify the heart(正心) 2.to make the in

16、tentions sincere(誠意) 3.to investigate things(格物) 4.to extend knowledge(致知)趙孟頫主要藝術(shù)理論（古意論）作畫貴有古意,若無古意,雖工無益。今人但知用筆纖細(xì)，傅色濃艷，便自謂能手，殊不知古意既虧，百病橫生，豈可觀也？吾所作畫，似乎簡率，然識者知其近古，故以為佳。此可為知者道，不為不知者說也。（書畫同筆）石如飛白木如籀，寫竹還應(yīng)八法通。若也有人能會此，方知書畫本來同。 “It is very important to cherish the spirit of antiquity in painting. When there

17、 is no the spirit of antiquity in painting, it would not be good， no matter how delicately it has been painted. The painters nowadays are only know how to use brush in a delicate way and to paint color brightly. Then they regard themselves as good painter. They hardly know that all kinds of defects

18、would appear in their works when the spirit of antiquity is lost. How can such works be appreciated!” -Zhao Mengfu(1254-1322) -The postscript was collected by Zhang Chou (1577-1643), “Qinghe Shuhua Fang”, 1616 “To depict stone as if use the flying white and to express trunk and branch as if write in Zhuan style calligraphy (zhou); to paint bamboo should be fa