苏轼艺术理论的三重境界

The Triple Realm of Su Shi's Art Theory

苏轼的画论、书论皆有着共同的境界模型。该模型可分为三层:第一层为“有法”,即对前人技法的熟悉与掌握,东坡画蟹能够刻画入微、纤细毕见;于书则由楷入行、草,临前人书帖,入妙得味,皆是此一境界的表征。第二层为“无法”,即绘画不仅能够描摹形体,还能够刻画出对象的神韵气势;于书法,则是能够融汇贯通,自出新意,虽看似不拘古法,其实笔墨挥洒,无不蕴有精微的法度。吴道子之画、张癫之书即此之流。第三层为“意境”,这一层境界,是士人书画所以区分于画工书匠之处。因为士人将更丰富的美学意蕴、哲学境界以及自己生命的厚度、深度、浓度皆融入了书画当中,从而形成了工匠之作无法方驾的深厚韵味。王维之画、逸少之书皆是其比。若苏轼,则后来居上,以其深厚的生命意蕴、伟大的人格及道德精神,寄意于书画,依仁游艺,成为了士人书画传统中的一座难以逾越的高峰。

Su Shi's painting theory and calligraphy theory all share a common realm model.The model can be divided into three realm:the first is“regular”,that is,the familiarity and mastery of the techniques of the predecessors,and the crab painted on the eastern slope can depict details.In terms of calligraphy,learn Kaishu and further learn Xingshu and cursive.Copying the works of predecessors,you can get the essence of them,which is a representation of this realm.The second is“no rules”,that is,painting can not only depict the form,but also portray the charm and momentum of the object.In calligraphy,it can be integrated and innovative,although it seems to be informal,in fact,the pen and ink are splendorous,and all contain subtle laws.Wu Daozi's paintings and Zhang Xu's calligraphy belong to this category realm.The third is“artistic conception”,which is what distinguishes Shi calligraphy and painting from painters and calligraphers.Because the scholar has integrated richer aesthetic meaning,philosophical realm and the thickness,depth and concentration of his own life into calligraphy and painting,thus forming aprofound charm that craftsmen's works cannot control.Wang Wei's paintings and Wang Xizhi's calligraphy both belong to this realm.As for Su Shi,it later came to the top,with its profound meaning of life,great personality and moral spirit,and pinned its hopes on calligraphy and painting,becoming an insurmountable peak in the tradition of calligraphy and painting of the scholars.