元代温日观墨葡萄画中的“书画合一”之美

The Beauty of“Unity of Painting and Calligraphy”in Wen Riguan’s Ink Grape Paintings in the Yuan Dynasty

宋末元初的重要书画史现象“书画合一”或“以书入画”,并非仅出自赵孟頫在《枯木竹石图》的题诗,而是时代风气作用的结果。与赵孟頫等文人交游甚密的禅僧温日观所画的墨葡萄,从同时代友人的评述,以及温日观书画的形式,都能看到草书笔法入画的现象,也补充了此时“以书入画”审美观念的应用实例。通过“以书入画”审美观,也可从风格和工具两个方面鉴定出温日观真迹的三个特点,即草书法、作横枝、破袈裟。在温日观的墨葡萄画中兼有大草和小草两种笔法,图绘的葡萄藤带有狂草之风,墨迹则受晋人小楷影响。由于画面呈现书法的笔法,温日观之作对元代草书大家鲜于枢有很大的影响,“书画合一”的美学特色流传至明中期,被书画大家文徵明作为教学所用。

The important phenomenon in the history of calligraphy and painting in the late Song and early Yuan Dynasties,“unity of calligraphy and painting”or“using calligraphy skills in painting”did not originate from Zhao Mengfu's inscription in“The Painting of Dead Wood,Bamboo and Stone”,but was an outcome of the time.The ink grapes painted by Wen Riguan,a monk who was a close friend of Zhao Mengfu and other literati,can be seen as a ideal example.From the comments of his contemporaries,as well as the form of Wen Riguan's calligraphy and painting,one can clearly spotted the phenomenon of“using calligraphy skills in painting”,which provide examples of this aesthetic tendency.Three characteristics of Wen Riguan's authentic works can also be identified from perspectives of style and tools,namely,cursive calligraphy,horizontal branches,and broken cassock.Wen Riguan used wild cursive script and small cursive script in his ink grape paintings.Grape vines in his paintings had the style of wild cursive,while the ink marks were influenced by Jin people's regular script.Wen Riguan's works had a great influence on the cursive script master Xianyu shu of the Yuan Dynasty.The aesthetic feature of“combination of calligraphy and painting”was passed down to the middle of Ming Dynasty,when it was used by Wen Zhengming,a master of calligraphy and painting,in his teaching.