评“工画者多善书”

COMMENT ON PAINTING PEOPLE ARE GOOD AT CALLIGRAPHY

形象性与意象性是书画同源或书画同体的精神实质。汉字的书写从实用功能中解放出来成为一种艺术表达,其书写性特征又与绘画相互融合,相互促进,最终将中国传统文人绘画推上了重视笔墨趣味、不拘于形似超越形似的写意高峰。张彦远《历代名画记》说"工画者多善书",表达对当时宫廷画家缺乏激情、只求形似、毫无意韵的绘画样式的不满,提倡一种快意书写、将书法用笔的气势与力度融合于绘画之中的艺术风格,通过对吴道子艺术的赞美,赞赏一种书写性重要的文化意趣,也为后世的文人画家提供了从事绘画实践的理论基础,阐明了绘画与书法用笔辩证统一的关系与"合法性"基础,促进了唐代"水墨之变"局面的形成。随着用"笔"与用"墨"技巧的进一步融合,文人画笔墨范式与趣味基本得以确立。

Figurativeness and imagery is the spirit of painting-calligraphy homology. Chinese characters writing liberated from the practical function, and became a kind of artistic expression. The features of writing and painting were integrated and mutually promoted, and eventually push the Chinese traditional literati painting to the peak of ink taste, beyond form likeness.Zhang Yanyuan said ＂painting people are good at calligraphy＂ in the Li-tai ming-hua chi. He expressed a dissatisfaction with the court painters′ lack of passion and style. He advocated a pleasure writing, momentum and vigor of calligraphy merged in the painting art style. With appreciation of Wu Daozi′s art, he favored the cultural charm of calligraphy and provided the theoretical basis for the practice of painting in the later literati painters. He expounded the relationship of dialectical unity and ＂legality＂ foundation, promoted the Tang Dynasty ＂change of ink and wash＂. With the skills of ＂pen＂ and ＂ink＂ further integrated, the literati brush ink paradigm and tastes were fundamentally established.