清代画论家笪重光的《画筌》绘画思想解析

Analysis of the Painting Ideas in Painting Theorist Da Chongguang's Hua Quan in the Qing Dynasty

《画筌》是笪重光集历代画论、画法之精华、着意斟酌、删减糟粕,融己意于其中的著作。文中既进行画理综述,又解析山水画绘画创作的艺术规律与表现技法等。其在中国画理论方面的贡献主要有五点:第一,讲述中国山水画所依循的主要画理、具体创作的艺术规律与表现技法。第二,对文人画精神内涵的追求,强调不仅要有"绘心",还要有"文心"。第三,强调绘画与书法的关系,以八法示人,是作画的根本要义。第四,笪重光要画家明白画面实景和空景的关系。第五,"得势"与"失势"所造成的画面后果以及笔墨与设色的协调关系。

Da Chongguang integrated historical painting theories and the essence of painting theories,distinguished and deleted dross,and expressed personal views in his work Hua Quan. This work not only discussed painting theories,but also analyzed artistic rules and expression techniques in the creation of mountain-water paintings. There are five contributions to the theorization of Chinese painting. Firstly,it discusses the main principles,artistic principles and expression techniques in specific creation. Secondly,it pursues the spiritual connotation of literati paintings and emphasizes on not only ＂heart of painting＂but also＂heart of literature＂. Thirdly,it underscores the relationship between painting and calligraphy,asserting that demonstration of the eight methods is the basis of the creation of painting. Fourthly,Da Chongguang wants the painters to understand the relationship between actual scene and empty scene. Finally,it discusses the implications of＂be in power＂and＂loss power＂on the paintings,as well as the dynamic relationship between brush-ink and coloring.