王铎山水画三题

Three Issues on Landscape Paintings by Wang Duo

身历明清鼎革的王铎,存世绘画不多,但山水作品别具一格。经梳理可知,他创作的山水画在晚明时较少,入清之后则渐次增多。其画构图专取五代荆浩、关仝惯用的高远之法,气魄博大沉雄,间或运用唐王维、五代董源的墨法,令画面不失于单调、重复。王铎的山水画成就多来自"临古"的艺术实践,他既能从中汲取古人优长,又能不拘泥于前贤绳墨,敢于突破"形似"的羁绊,强调藉简括朴拙的笔墨表现雄强高阔的万千气象。这正是他经由"临古"之途,实践"创新"之思,得以在画坛占有一席之地的重要因素。此外,王铎笔下的山水别有幽微之义,或在排遣身仕两朝的纠结情绪之际,存有诠释林泉志向与期冀致仕的隐衷,或借思乡之情而传达出怀念故国的情绪。

Wang Duo lived through the dynastic change from the Ming to the Qing dynasty. Only a few of his paintings are still extant, among which the landscapes show a unique style. Only a limited number of his landscape paintings were created in the late Ming period, while the number gradually increased after the Qing dynasty rule was established. He inherited the ＂high-distance＂ （gaoyuan） composition from the works by Jing Hao and Guan Tong of the Five Dynasties period, rendering his painting both imposing and solemn. The occasional brushwork resembling that of Tang dynasty Wang Wei and Five dynasties Dong Yuan added variety to the scenery. Wang Duos accomplishment in the landscape genre was partly derived from his artistic practice of ＂imitating ancient styles＂ （lingu）. While drawing on the positive features in ancient masterpieces, he managed at the same time to break the shackles of mere resemblance in appearance and emphasized the importance of representing the spectacular and kaleidoscopic through minimal and deliberately primitive brush strokes. His approach towards ＂innovation＂ through ＂imitation＂ played a vital role in securing a place for him in the painting circle. Additionally, the profound meaning expressed through Wang Duo＇s representation of landscapes shed lights on his wish for an idyllic lifestyle, and expectation of obtaining an official position at a time of ambivalence towards the newly established Qing court. Homesickness could also allude to his nostalgic longing for the defunct Ming dynasty.