赵孟頫“古意”观念的视觉呈现与美学理想

The Visual Presentation and Aesthetic Ideal of Zhao Mengfu’s Guyi

“古意”观念在中国绘画史中的重要地位,主要来自元初赵孟頫的推动。赵孟頫以对“近世”的批判为主轴,在“形/意”和“画手/观者”的框架中探讨“古意”,强调绘画的命意和画手、观者的身份。其绘画中异于“近世”的用笔与画意体现了“古意”的视觉可感性。围绕这一观念,可以进一步讨论赵孟頫的美学理想。具备“古意”维度的绘画不仅为易代之际的赵孟頫提供以画为寄、构造双重自我的手段,还为他在文人画史上博得声名。后世文人画理论所推重的笔墨程式、风格意趣和思想观念实在赵孟頫的“古意”观念中已有发轫。

Guyi is an important concept in the Chinese painting history,mainly promoted by Zhao Mengfu in the early Yuan Dynasty.With his criticism of the Jinshi,Zhao Mengfu developed his discussion of Guyi within the framework of Xing/Yi and painter/viewer,emphasizing the creativity of painting and the identification of the painter and viewer.Zhao Mengfu’s brushwork and intention in his paintings are different from those of the jinshi,reflecting the visual perceptibility of Guyi.Around this concept,Zhao Mengfu’s aesthetic ideals can be explored.Guyi Painting not only provided Zhao Mengfu to use painting as a means to construct a double self in the dynastic change,but also earned him fame in the history of literati painting.The brush and ink procedures,stylistic interests and ideological concepts valued by later generations of literati painting had their origins in Zhao Mengfu’s concept of Guyi.