顾凝远《画引》中的画理探微

A Study of Gu Ningyuan's On Painting

顾凝远《画引》是晚明时期一部经典著作,全书三卷,卷一论画部分涉及前人画理、自然与画、历代名家、鉴赏观、题画诗诸方面,既是顾凝远个人观念的体现,也是晚明文人画家典型思想的浓缩。在前人画论的基础上,顾凝远阐发了一系列艺术见解:提出"传神写照先知雅俗之分",丰富了建立在形态、神态、动态基础上的人物画传神论;关注创作中感兴的作用,提出若干助"兴"之法;对"笔墨"与"生拙""生熟"的关系提出见解;厘清墨之枯润与气韵的关系,指出画面气韵的获得不在于"墨"而在于"境";跳脱出将"取势"视为章法构图的传统观点,认为画家的心胸和眼界是决定画面气势的关键要素;指出"画病"中用笔三病并非限于技法问题,而是直接关系作品生死。顾凝远虽然多围绕前人画理展开阐发,却彰显出其卓尔不群的见解和不俗的审美品位。

Gu Ningyuan＇s On Painting [画引] is a classic work in the late Ming dynasty. The book includes three volumes. The first volume involves the elucidation of previous painting theories, the nature and painting, historical painters, appreciation view and poems in paintings. It is not only the reflection of Gu＇s personal concept, but also the concentration of typical thoughts of literati painters in the late Ming dynasty. On the basis of his predecessors＇ painting theories, Gu Ningyuan puts forward the theory that ＂vividly depicted characters should display distinct elegance and vulgarity＂. It enriches the theory of human figure painting on the basis of image, expression and motion. He pays special attention to the role of inspiration in painting creation. He offers a series of brilliant insights about writing, raw and clumsy and raw and skillful. He clarifies the relation between the dry or washy ink and radiance[气韵]. The artistic conception of the picture lies not in ＂ink＂ but in ＂mood＂[境]. In terms of ＂constituting a potential state＂[取势], he also leaves out the traditional view that regards it as the composition of a picture. He thinks that the artist＇s mind and vision are the determinants of the picture. As for the ＂painting illness＂, he pointed out that the three problems of using blush are not due to the technique and they are directly related to the essence of painting works. Although his elucidation are mostly based on predecessors＇ views, Gu Ningyuan demonstrates his unique views and refined aesthetic taste in this book.