移远就近——窗与中国画构图及画幅形式

Window, Composition in Chinese Painting and Painting Format

李渔在《闲情偶寄》中提出"取景在借",并指出"开窗莫妙于借景"。他把窗作为一个取景框看待,窗外窗内皆成为一幅幅不同内容、不同构图的画面。而这些画面则是由窗框起到的"间隔"作用形成的。窗框内形成的"透明层平面"把三维的景物"切割"并"压缩"成二维的画面。南朝时期画家宗炳利用一张绢素放置眼前,并透过它看到"竖划三寸,当千仞之高;横墨数尺,体万里之迥"的画面。这种方法其实就是表现的透视原理,比西方文艺复兴时期利用玻璃发明的透视方法早了一千年,并形成了中国人特有的取景与构图方法。中国文人墨客就是从窗框框出的美景中,写出了流传千古的绝句,绘出了流芳百世的画作,并形成了"诗是无形画,画是有形诗","诗画本一律",诗境即画境这个中国特有的文化审美现象。窗与窗、门发展演变成的隔扇,也继屏风载画的传统成为了裱装字画的载体,影响并决定了中国画画幅形式的形成与走向。

In his book Xian Qing Ou Ji [闲情偶寄], Li Yu stresses the importance of finding view through the window. Li uses the window to form pictures of different contents and compositions within the same painting, which are separated by window panes. The plan formed inside the window panes divides three-dimensional landscape into two-dimensional pictures – a unique Chinese method of view finding and composition. Out of landscapes framed in windows, Chinese scholars and artists created poems and paintings that have been admired by later generations and developed the cultural and aesthetic tradition of combining poetry with painting that is special to China. Window and partition door, which derives from widow and door, later became a continuation of painted screens and were mounted with Chinese painting and calligraphy. Such a format had influenced the development of the format of Chinese painting.