论文人画从北宋到南宋之变

A Transformtion in Literati Painting as Reflected from the Northern Song to the Southern Song Dynasties

北宋诗文革新运动影响了绘画,“破体”为文而至绘事,颇多诗画相通之论。以苏轼为代表的文人画理论主要体现在三个方面:(1)提出了系统的画家修养论;(2)倡导绘画的传神论;(3)确立了“书画当观韵”的标准。在创作上大致可分三类,其中,苏轼、文同、米芾等被视作典型的文人画。南宋文人画的逐渐退潮,除了院画兴盛的外部因素外,更出于自身的原因。其变化与转型体现在五个方面:(1)文人画几可看作是画院以外绘画的代称;(2)有借鉴院画之长并与院画结合之势;(3)创作主力转移到水墨竹石花卉;(4)开绘画与诗、书、印结合之先河;(5)僧道作品形成了狂逸的创作风气。

The reformation of poetry and prose in the Northern Song Dynasty exerted influence over painting, thereby promoting and enhancing morals and further developing a school of painting done by amateur literati in that period. Then, restrictions were removed upon the style for both poetry and painting, while many literary men held that there was a harmonious link between the two. Briefly speaking, the theory of this literati painting represented by Su Shi features three points： （1） painters should be artistically and morally accomplished; （2） painters should pay particular attention to spirit resemblance beside form resemblance; and （3） painters should take the “aroma” of poetry or paintings as the yardstick by which to measure their artistic works. Literati paintings can be divided into three styles ： （ 1 ） the style represented by Guo Zhongshu, Li Cheng, Fan Kuan, and Li Gonglin just like expert painters with high artistic attainments, whose works are regarded as pure literati paintings; （2） the style represented by Yan Su, Wang Shen and Zhao Lingrang, whose works are considered literati paintings done by absorbing strong points of imperial-court decorative painting; and （3） the style represented by Su Shi, Wen Tong and Mi Fu, who did typical-literary-man＇s painting by translating the literary ideas into it, while in practice turning the same theory for painting and calligraphy into the combined work of painting and calligraphy. Literati panting fell to a decline during the Southern Song Dynasty. Its root cause was its internal factor despite the external one-the steady rising of imperial-court painting. But the decline led to a transformation, which was reflected in five aspects ： （ 1 ） Literati painting began to turn to the typical-literary-man＇s painting in its true sense, like the style represented by Su Shi and others. （2） Literati painting began to be seriously done by drawing on strong points from imperial-court painting rather than just for fun. （3） Literati painting began to take “bamboo, stone, flower, and plants” as its traditional subject matter. （4） Literati painting began to feature the inventive combination of four forms of art： painting, poetry, calligraphy, and seal. （5） Literati painting done by a special group of painter-monks began to produce an unrestrained and leisurely style, which went as far as to exercise influence over the Japanese painting.