论禹之鼎对仇英青绿山水画的继承

The Continuation of Qiu Ying's Blue-and-Green Landscape by Yu Zhiding

明代仇英及清代禹之鼎皆有两宋院体青绿山水画风的作品传世。经过图像比照,可以发现禹之鼎的部分仿学南宋工丽精当的青绿山水画与仇英(或是传为仇英)的作品在构图、笔法上有着近似甚至一致之处。鉴于难以获观宋画原作的情况,禹氏远求赵令穰、赵伯驹之法亦会有一道津梁,而这道津梁即为仇英。禹氏潜心青绿山水的主要原因在于,青绿山水无论对绘制国家庆典场面或是祝寿等特殊用途的作品都具有烘托喜悦氛围的功能。仇英的作品中恰恰具备相关的内容与题材,固而成为禹之鼎的必然选择。然而,禹之鼎避而不谈临仿仇作的事实,既是希望改变被人视作职业画家的境况,刻意地疏远其与仇英等画师、画匠们的距离,也是学习董其昌等人认可的赵令穰、赵伯驹、赵孟頫等"北宗"中的"士气"风格,借以融入文人画家群体的想法使然。

Works have survived of Ming dynasty artist Qiu Ying and Qing dynasty artist Yu Zhiding in the style of Song Academy School blue-and-green landscape painting. After a comparative study, it is found out that some of Yu＇s imitation works of Southern Song blue-and-green landscape painting are similar or even the same in composition and technique to Qiu＇s works （or works attributed to Qiu）. Due to the lack of Song originals, probably through Qiu, Yu was able to draw on Zhao Lingrang and Zhao Boju. He took great interest in blue-and-green landscape because it created a festive atmosphere in depicting state-level ceremonies or celebrating birthdays, themes that can be easily found in Qiu＇s paintings. However, Yu refrained from mentioning his imitation of Qiu, because he was reluctant to be regarded as a professional painter by keeping a distance from professional artists like Qiu. Instead, he preferred to become a literati painter by drawing on Zhao Lingrang, Zhao Boju, Zhao Mengfu and other literati painters recognized by Dong Qichang and others.