越水吴山染不轻——东阳木雕对陈洪绶卷轴画人物造型的影响研究

Self- Innovation from the Imagery of Provision——Research on the Influence of Dongyang Woodcarving on the Figure Modeling in Chen Hongshou's Scroll Painting

本文以审美趣味为锲入点,运用比较分析的方法,结合具体的美术作品,对陈洪绶卷轴画与明代东阳民间木雕的人物造型进行深入的比较研究,寻绎、梳理它们之间的内在逻辑关系。从中可窥见,陈洪绶在直接或间接地挹取东阳民间木雕精华的过程中,在"雅"与"俗"之间找到了一个平衡点,将民间木雕中苍劲守拙、幽默诙谐的造型立意因素融入到高雅清逸的形式主调中,从而给其作品带来了新的精神品位。从某种意义上讲,其画作中的造型不仅是形式层面的问题,其背后更是"以我观物"的一种外化、物化的方式。由此,使我们对陈洪绶卷轴画的人物造型有更完整、深刻的认识,同时也在一定程度上弥补了后人对其卷轴画人物造型的"民间性"研究的不足,对今日的美术研究及绘画创作皆有一定的现实意义。

Using specific works of art as examples and applying the method of comparative analysis, this article takes the aesthetic taste as an entry point to carry out comparative studies of the figure modeling between Chen Hongshou＇s scroll painting and the Dongyang folk carving in the Ming Dynasty with the aim of exploring the internal logical relationship between these two. It is shown in the paper that, Chen Hongshou absorbed the essence of Dongyang Folk Woodcarving either directly or indirectly and he found a balance between the ＂elegant＂ and the ＂vulgar＂. In such way, Chen mingled the powerful and humorous elements in the folk woodcarving＇s modeling into his painting＇s elegant expression form with new spiritual tastes. In a sense, the modeling of Chen＇s painting is not just about the form, but about an embodiment and objectification of the no- tion ＂viewing the object from my perspective＂. With this understanding, we can then have a deeper and more comprehensive understanding of his figure modeling. At the same time, to a certain extent, this understanding also minimizes the gap in later scholars＇ research on the＂ folk nature＂of the figure modeling in Chen Hongshou＇s scroll painting. Finally, the research yields certain practical significances to today＇s art research and painting creation.