从画道、画品的角度看董其昌的南北宗论

An Inquiry into Dong Qichang's Theory of the Southern and Northern Schools from the Perspectives of Huadao and Huapin

董其昌的南北宗论不仅是借禅论画,其中还包含着他基于禅学修养而对绘画一种的特殊理解和对画品的特殊要求。他是在泯灭能所的当下真实意义上理解绘画的,要求画中的境界是当下所现的自在之境一念普现的无妄乐境。南宗绘画展现了当下真实意,是“一”,所以合乎画道;北宗绘画不能展现当下真实意,是“二”,所以不合画道。他要求的画品是无冲突、无对立的天真烂漫。

Dong Qiehang＇s theory of the Southern and the Northern Schools of paintings was not merely analogous to Zen, but a theory based on Zen. It offers a special understanding of huadao, i.e. the Tao of painting and lays a special claim to huapin i. e. the characters of paintings. To him, painting should show the original troth which appears only when the separation between the subject and the object vanishes. Painters of the Southern School paint in a way corresponding with huadao because their paintings show the original truth, whereas those of the Northern School paint in a way deviating from huadao because their paintings cannot show the original truth. Accordingly, Dong Qichang advocates a character of peace and artlessness in paintings without any conflict and opposition.