“画分南北”与山水画的隐逸精神

“Different Painting in South and North” and the Hermit Spirit of Landscape Painting

在明代晚期,董其昌倡导"画分南北二宗",一时纷争四起,至今仍有余响。对于董其昌以禅喻画,重顿悟、轻渐悟,重超逸、重精工,推崇文人画,贬抑院体画,学界多有以史为据的批评。本文试图以中国山水画的精神为理据,对董其昌的"画分南北二宗"之说的要义作新的梳理、阐释。本文主张,董其昌此说,是对中国山水画所根源的庄子隐逸精神的总结性阐发,表达的是中国文人对于山水画的生命精神寄托。

Dong Qichang proposes'two schools of painting: north and south'in late Ming Dynasty of China, which aroused widely controversy lasting to today. With historical evidence many scholars criticized Dong Qichang’s painting style like comparing painting to Buddhist, emphasizing fast understanding while despising slow one, emphasizing hermit and fine workmanship, praising highly on literati’s painting while belittling college painting. This paper attempts to have a new review and explanation on Dong Qichang’s theory of 'two schools of painting in north and south'by discussing the spirit of Chinese landscape painting. It holds that Dong’s theory is a conclusive demonstration on the hermit concept of Zhuangzi, the origin of Chinese landscape painting. The theory indicates an inner resource of Chinese literati which is the living spirit of landscape painting.