宋代文人画与老庄精神

The Scholar Drawings in Song Dynasty and the spirit of Taoism

文人画由唐到宋,在不长的时间里发展迅速,虽还不是主流画派,但在苏、黄等人的大力提倡下,对当世及后世都产生了极大的影响。特别是他们所看重的萧条淡泊、虚静无为、不以物喜、不以物悲的老庄精神,为我国文人画的发展作了理论上的先导。后世的文人画家们,在自己的创作中都有意或无意地追求这种精神,寄情自然山水,追求笔墨趣味,得之于象外,成竹于胸中,并成为文人画与其它画种的重要区别之一。

The Scholar Drawings had developed quickly from Tang Dynasty to Song Dynasty and have great influence at that time and up to now under the advocating by Su Shi and Huang Tingjian and so on. Especially, the concepts, which are inaction, enjoyment and calm, and normal preference to assets expressed in the spirit of Taoism and which they had emphasized, become the theoretical pioneer of China＇s Scholar Drawing development. The scholar drawers after those dynasties, which have been, in purpose or not in purpose, pursuing that spirit which includes integrating painter＇s affection into nature, pursuing the interests of drawing, thought-provoking and ready to draw anything, become one of important differences from other drawings.