论明代晚期绘画创作观

On the Ideas of Painting in the Late Ming Dynasty

明代晚期绘画理论,主要体现在董其昌的《画旨》《画禅室随笔》、陈继儒的《泥古录》、屠隆的《画笺》、唐志契的《绘事微言》、顾凝远的《画引》、李日华的题跋与日记、以及范允临、高濂、谢肇淛、李流芳等人的零散论画之中。其有关绘画创作思想有很多共同倾向,在创作情境上,主张从容自得、兴会来临状态下作画,反对"以画为鬻"、"以画为媚";在创作本源上,主张写自然天趣,反对徒逞形貌;在创作主体上,强调画家"人品须高",认为主体的胸次修养对绘画创作起到根本性作用;在技法上,提出"画不可苟",反对任意师心,追求理与笔的统一。明代晚期绘画创作观,虽然也隶属于文人画谱系,但相较于宋元、明代中期文人画表现出鲜明的艺术本位立场,是对绘画创作内在规律的专业探索,为文人画审美取向成为中国画正宗起到重要作用。

The late Ming Dynasty painting theory is mainly embodied in Dong Qichang's 'Paintings', 'Painting Zen', Chen Jir u's 'Nicholas', Tu Long's 'Paintings', Tang Zhiqi's ' Painting Cited', Li Rihua's inscriptions and diaries, as well as Fan Yunlin, Gao Lian, Xie Zhaoyu, Li Liufang and others scattered ideas about the painting. In the creation of the situation, they advocated complacent, improvised state painting,against 'painting as vend', ' painting for please'; in the creation of origin, they advocated the nature of interest, against describing situations from appearance; in the creation of the main body, Emphasizing the painter 'character should have good personality'. In the creation of the main body, emphasizing the painter 'should have good personality ', it means that the main body of the painting can play the fundamental role in painting; in the techniques, the 'painting is seriously', against the arbitrary writing, pursuing the unity of rational and the pen. In the late Ming Dynasty,although the painting concept belonged to the literati lineage, the Ming Dynasty scholar paintings show a clear artistic position, compared to the Song and Yuan Dynasties, is the painting of the inherent law of professional exploration for the literati painting aesthetic orientation, play an important role in Chinese painting authentic.