从董源到王原祁:山水画地域意识的弱化与秩序意识的强化

From Dong Yuan to Wang Yuanqi: the Weakening of Terrain Consciousness and the Strengthening of That on Order in Landscape Paintings

五代两宋时的山水画作都具有浓郁的地域性特征和宛在"真山水"中的实境感。五代董源山水中的平坡、浅滩、丛林、芦汀等通过一种源自实景观察的位置经营,形成了其"平淡天真"特色。明董其昌提出"南北宗论",董源画法成为"南宗正脉",并且经董其昌的异解,最终在清初"四王"之一的王原祁那里,被转换成富有人工秩序营造、具有"大君气象"的山水样式。王原祁通过"龙脉说"来强化对山水诸形势要素的"正局"秩序营构,通过对董巨山体形态的样式继承改造和笔墨"清润中和"的审美表达,实现了其山水画审美气质上的"大君气象",从而将董源山水中表现"江南真山"的实境感转换成为一种充溢着"庙堂气"的秩序感。

There were rich terrain characters in the landscape paintings in the Five Dynasties and the two Song Dynasties, which made people feel like staying in the ‘real landscapes’. The hills, banks, jungles, reed ponds, etc. in Dong Yuan’s landscape works in the Five Dynasties had the character of ‘being pure and simple’ because he paid attention to the composition according to his observation on the real scenery. Since Dong Qichang raised the ‘theory of the north and south painting schools’, Dong Yuan’s art became the ‘real south painting school’. Through Dong Qichang’s explanation, Dong Yuan’s art was transferred to Wang Yuanqi’s, one of the four famous artists whose family names were all Wang in the early Qing Dynasty, as that of the landscape painting with the man-made composition planning and ‘the air of an emperor’. The feeling of being in the real landscape of the ‘mountains in the south of Yangtze River’ that showed in Dong Yuan’s works was changed into the feeling of order with the ‘sovereign air’.