书法的角色——论黄宾虹的笔墨观及其实践

On the viewpoints of Brush and Ink of Huang BinHong and His Creations

“笔墨”问题是中国画的核心问题,也是黄宾虹最关注的问题。在黄宾虹的“笔墨观”中,书法有着特殊的意义。黄宾虹对于笔墨的把握,直接受到碑学书风的影响,他主动地实践了碑派书家“万毫齐力”、“中锋”、“以臂使指”等运笔要求,书法追求先秦大篆的沉厚朴拙,同时克服了碑派末流迟浊的流弊,达到了“不粘不脱”的创作自由境界。他推崇北宋绘画,强调对自然山川“浑厚华滋”的主观把握,更倾心元人写意的“苍润”,同时,指出了董其昌暗含的危机,超越了明清以来倾向于程式化的山水皴法。黄宾虹从国画内在生发、发展的本原上把握了笔墨写意的真谛,创造了自我的辉煌。

The issue of brush and ink is the central one in Chinese paintings, andit is also the very topic that Huang BinHong paid much attention to. Handwriting had a particular meaning in the viewpoints of brush and ink of Huang BinHong. Huangi viewpoints were influenced directly by the writing styles of stone inscriptions. Huang practiced actively techniques of stone-school calligraphers, pursued the simple and vigorous strokes of seal characters of proto-Qin times, and overcame the abuses of stone-school in final phase, and arrived at the realm of freedom of creations. Huang held in esteem the paintings in Northern-Song Dynasty, emphasizing to grasp the nature subjectively, admired the moist quality of the freehand brushwork in Yuan Dynasty. Huang also referred to the crisis that Dong QiChang implied, surpassed the stylization of landscape paintings from Ming and Qing on. Huang mastered true essence of Chinese paintings from their origins and created brilliant achievements.