南北文化融合与赵孟頫的书画艺术主张

The South-North Cultural Synthesis and Zhao Mengfu's Idea of Calligraphy & Painting

赵孟頫书画艺术主张的提出,关联着宋末元初的历史文化语境。在仕元的第一个十年中,赵孟頫在北方深深感受到南北文化的差异,并试图站在南方的立场上反思书画创作的现状。大德五年,赵孟頫在杭州为官期间,提出了绘画艺术的"古意"说。"古意"首先涉及到是以气韵、人品观画的品评标准,其次才是技术层面上的笔法、笔意、风格等问题。后者显示出他在文人画家中的专业性。至大三年,赵孟頫北上为官途中,以《定武兰亭帖》为基础,集中阐释了以晋为法的书学主张。其"用笔千古不易"说,涉及到"古法"何为的问题,主要体现在他对"用笔"与"右军"书的理解层面上。取法晋书意味对魏晋风韵的认同,随着士人审美趣味的变化,赵书遂受到不同程度的指责,但这并不能遮蔽他在书画观念史上的重要地位与影响。

That Zhao Mengfu advocated the notion of Classical Spirit of calligraphy was closely linked with the historical and cultural context of the late Song and early Yuan dynasties. In the first 10 years when he served as an official in the Yuan dynasty, he strongly sensed the cultural difference between the south and the north, and tried to think over the issues concerning calligraphy and painting standing by the artists from the south. But in the 5th year of Dade he raised the notion of Classical Spirit(Gǔ yì) that focused on artistic conception and personality shown on the painting beyond techniques, style and others. In the 3rd year of Zhida when Zhao was on the way back to the imperial capital he was inspired by the rubbings of Preface to Lanting Poem Collection(Dìngwǔ Lántíng Tiè) to interpret his idea of following the Jin calligraphy as the model, by which he put forward the principle of ‘unchangeable brush-writing skills', which referred to the uses of traditional techniques of brushwork based on his understanding of the ‘writing skills with Chinese brush' and the manuscripts by Wang Xizhi. Zhao's quaint style of the Jin era got criticized later due to the changes of masters' taste in calligraphy, yet he's still regarded as a great master of calligraphy and painting in history.