白阳之“仙”与青藤之“禅”——兼论文人画之主流与潜变

Baiyang's Celestial Being and Qingteng's Dhyana ——Also on the Mainstream and Changes of Scholar's Painting

陈淳、徐渭是水墨大写意花鸟画的开山祖,其花鸟画是文人画发展历史进程中的重要里程碑。晚明时期盛行于文化精英间之"心学"与"禅学",是长期发展与高度成熟的中国农业社会萌生并向工商社会转型之各种社会因素这一大时代中的时代精神,从白阳到青藤,其承传性、一致性与相异性都主要是这一社会历史的大环境所造就的,其中个人的主观条件,个性、气质、境遇等又起着内应的作用。通过对陈淳、徐渭生平、思想的几个有关问题作出考辩,并进而讨论其生平、思想、个性怎样影响了他们的艺术风格的形成以及文人画发展过程中儒、释、道的相互作用,论证两人的艺术对于董其昌及以后文人画发展到以笔墨为最终依归的历史功绩。

Chen Chun and Xu Wei is the founder of flower and bird drawing in water painting. Their flower and bird painting is a milestone in the history of scholar＇ s painting. The phsyche study and dhyana study popular among the academic elites in the late Ming Dynasty are mature Zeitgeist after long- term development, which forms on the basis of varied social factors emerging form the changing process from Chinese agricultural society to industrial and commercial society. The inheritance, consistency, and difference of the Zeitgeist from Baiyang to Qingteng result from the social environment in history, in which such subjective factors as individuality, temperament, and personal experience play an important intrinsic role. Tbe paper first probes into the life story of Chen Chun and Xu Wei, and some related problems in their thoughts. Then the fact how their life story, thoughts, and individuality influence the formation of their art style is explored. Based on that, the interaction of Confucianism, Buddhism, and Taoism in scholar＇s painting is analyzed, and the historical contributions of Chen Chun and Xu Wei＇s art to painting＇s development into that of the later scholars since Dong Qichang witb as its ultimate pursuit are demonstrated.