论六朝山水画论的写形指向

Expressing Form of Landscape Painting Theory in Six Dynasties

虽然六朝山水画论有重传神的说法,但是通过对六朝时期文学艺术的研究,不难发现,从顾恺之开始,人物画论中"以形传神"的说法便已隐含着对写形的关注,绘画评论中对写形的论述也很多,山水诗文领域亦有"文贵形似"的形似论,这都说明六朝并未形成鲜明的形神对举、重神轻形的思维模式;形神关系尚处于争论探索阶段。该时期山水画论的写形指向确实存在,写形并非作为传神的工具,而具有与传神共存的独立价值。

Chinese landscape painting theory attached great importance to the vividness and conveying the spirit in the painting,but through studying on literature and arts during the period of the Six Dynasties,it is not difficult for us to find that painters had already paid attention to the importance of form early from Gu Kaizhi.The theory of ＂achieving vividness by form＂ in the figure painting implies the concern for the form.Much discussion of the form could be found in the painting commentary.There were also theories of ＂form similarities＂ in the field of landscape poetics.All this shows that there were no clear-cut contrasts between the form and spirit or no emphasis was laid on the spirit rather than on the form.The relationship between the spirit and form was still controversial.In this period there existed the tendency of form expression in the theory of landscape paintings.The form was not just the tool for conveying spirit.It had its own value and coexisted with the spirit.