“戾家画”说刍议

Commentary on the Theory of "lijiahua"

“戾家”的“戾”的含义由乖张、暴戾而引申为违反。按照启功等前辈的考证,“戾家”意指外行的、无师承的、非专门的、不精通的人,“戾家画”可指为脱略常法、无师承、有违绘画法则的画作,是一种业余水平的绘画;钱选和赵孟頫将“戾家画”与“士夫画”想对应,“士夫”应指在位的文人官僚。从钱、赵有关“戾家画”的对话中可以看出,钱选在某种程度上是自觉地游离于“士夫”之外的一位士人,其说蕴含了“道”、“艺”关系的历史内涵,表明了钱选对“道”的超越,其价值格趣由传统的“重道”而转向艺术。钱选以这样的士人格趣并通过多方面的艺术实践启迪了后来的文人画家,从而体现了他在艺术发展史中承前启后的地位和作用。

The original meaning of ＂li＂ is ＂contrariness＂ or ＂cruelty＂ and its extended meaning is ＂violation＂. According to the textual research of such scholars as Qigong, ＂lijia＂ means the person who is laic, non-professional and unskillful. Thereby, ＂lijiahua＂ can be regarded as this kind of painting. Qian Xuan and Zhao Mengfu compared the ＂lijiahua＂ with ＂intellectuals painting＂, and the intellectuals refer to the officials in the government. The dialog between Qian and Zhao about ＂lijiahua＇, reveals that in some degree Qian Xuan is an intellectual who somewhat disassociated himself from the intellectual circles consciously. Qian Xuan＇s theory contains the historical connotations of the relationship between ＂Tao＂ and ＂Yi＇, which also shows that Qian Xuan surpasses ＂Tao＇, whose value orientation turns from valuing ＂Tao＂ to emphasizing art. Qian Xuan＇s personality and artistic practice enlightened the up-coming painters and he was a link between the past and the future in the history of art.