浅议黄公望山水画风格图式的差异性

Some Comments on GongwangHuang's Divergence in Style and Composition in His Chinese Landscape Painting

黄公望的大宗地位是在明末董其昌时代才确立起来的。由于其存世画迹不多,而且其最重要和可确认的十多件作品均集中在他晚年约70到82岁之间。本文通过分析黄氏存世可信画作,总结出从图式上看大体可分:雪景、"天池石壁"类型以及介乎两者之间的仙山、九峰类型三种。这其中既有富于"自然"的成熟作品,也有一些是比较琐碎而有拙趣的画迹。在语言、文字、实践上大力推举黄氏的作品始于沈、文一脉画家,但对于董其昌等明末清初画家影响最深的恰恰是一些在今天已经失传的作品。沈、文与董、王对黄公望画不同风格的选择,造就了此黄与彼黄的差异。黄氏画作无论横幅、立轴,主要有两种主要的审美风格倾向:一,简远萧散:取董源平淡天真之趣,"阔远"之境。二,繁茂重深:在宋画格局上稍变简疏。这充分说明黄公望的山水画正是在元代,李、郭与董、巨两种宋画风格融合的结果。在两种图式中,黄氏的折中意向十分明显,也就因为折中表达中才出现了成熟自然和稚拙建构的综合风格。

Gongwang Huang＇s status as a master was established in the time of Qichang Dong, late Ming Dynasty. His famous and approved works, more than 10 pieces, were mainly created between his 70s and 80s. Huang＇s works are full of variation, some works are intricate and filled with the nature atmos- phere, and some others are simple and sentimental. Aecording to the picture composition, this article pro- vides that his works could be divided into three kinds the snow scene, the Tian Chi Shi Bi type and Mountains of Gods and Jiu Feng type. Zhou Shen and Zhengming Wen highly recommended Huang＇s works through their words, writings and practice. Some of Huang＇s lost works even greatly influenced fa- mous artists in Late Ming and early Qing Dynasty, and Qichang Dong was a good example. Moreover, Zhou Shen and Zhengming Wen, Qing Chang Dong and YuanQi Wang showed their different preferences in the style of Huang＇s works. Huang＇s work revealed two aesthetic styles, nomatter in banner and vertical scroll, one is simple and plain, inspired by Yuan Dong＇s innocence and easy feeling＇ the other is mature and complicated, but a little simpler, compared to Song Dynasty. The article therefore concludes that H uang ＇s works is the result of the integration of two trends in Song＇s style, presented by Cheng Li and Xi Guo, Qiehang Dong and Ran Ju. In a word, Huang＇s comprehensive style of mature vs. innocent, natural vs. artificial construction is formed through his integration intention.