尽得“古意”而形神兼备——元初题画诗与“高尚士夫画”综论

Traditional Works Well-matched in Form and Spirit: Poetic Inscription on Painting and Literati Painting in the Early Yuan Dynasty

南北文艺的发展在元初一段时间里基本上各守畛域,这一局面一直持续到元世祖忽必烈下诏征召南人北上为官才被打破。除了征召南方文士北上外,元廷还委派北方官员赴江南地区任职,其中不乏精通书画的著名文臣。他们以传世的唐宋书画名作为效仿对象,在重视形似的基础上追求神似,其具专业水准的书画作品是到南方后才创作出来的。江南士人在与他们的交往过程中写的一些题画诗和书画题跋,不仅是对他们艺术创作的欣赏,也使诗学的"宗唐得古"与文人书画在得"古意"问题上实现会通。南北的诗人画家在题画诗和书画创作中努力探寻新的文艺发展途径,追求清雅品格和天真之趣,明确了"高尚士夫画"需形神兼备的文艺思想。

The literature and art in the south and the north Dynasty. This situation was not broken up until Kublai Khan the north. Meanwhile, the northern officials, including a generally kept their won fields at called up the southern people to the beginning take official pos of Yuan itions in number of well-known scholars who were proficient in painting, were dispatched to the Yangzi River Delta area. They created their professional works of calligraphy and painting in the south, imitating classical works in pursuit of spirit likeness in uniform with appearance resemblance. The poetic inscriptions on painting, forewords and postscripts written by the southern scholars in the contact with the northern people, not only show their appreciation to the latter, but also communicate the classical-oriented poetics and the literati art in the aspect of getting traditional spirit. They strived to explore new routes of art, in pursuit of elegance and natural taste, and thus defined an artistic trend that advocated well-matched painting in form and spirit.