论传统肖像画的肖似性及其得失

Image Similarity of Traditional Portraits and Its Advantages and Disadvantages

本文通过对古代传统肖像画在历史发展过程中形成的表现形式、造型方法、创作理念以及价值取向的阐述和分析,指出传统肖像画的形似具有象征性、示意性和程式化、理想化性质,其表现虽然具有古拙、简略、虚淡和平面化特征,但也有较高的写实能力。传统肖像画的肖似性,首先应当逼肖其形,才能逼肖其神,形神兼肖是其根本要求和重要特色。宋代以来,文人士大夫提倡不求形似的创作理念与价值取向,虽然对肖像画创作观念的革新、艺术境界的提升开辟了新的发展道路,有其积极作用,但却有违肖像画首先以逼肖其形为基础的基本特性;同时,鄙视肖像画的写实思想,有碍肖像画在技法上的探索和艺术上的提升,削弱了在绘画史上应有的地位。

This paper elaborates on and analyzes the form of expression,modeling method,creation concepts and value orientation of ancient traditional portraits in the historic process of development,pointing out that the similarity of traditional portraits in appearance possesses symbolic,schematic,stylized and idealized properties,which has a relatively high capability of verisimilitude though with crude and simple characteristics of complanation and vagueness.Image similarity of traditional portraits finds its first expression in the similarity of appearance and then in the similarity of spirit,both of which constitutes a fundamental property and important characteristic.Scholars since the Song Dynasty have proposed a concept and orientation of not pursuing the resemblance of appearance.As an innovative concept of creation,it blazes a new trail for portraits and raises the artistic realm;however,it goes against the essential quality of portraits and disdains the realistic idea in portraits,which not only hinders the technical exploration and artistic improvement of portraits,but also weakens the position of portraits in the history of painting.