无一物中无尽藏 有山有水有楼台——《富春山居图》笔墨语言探析

Analysis of Pen and Ink Language of “Inhabiting the Fuchun Mountains"

文章通过对《富春山居图》及其临仿本的对比研究,发现虽然临仿本的技法表现和原图基本相似,但其言说的指向性完全不同。原图的魅力在于它基于存在而'可居'。而在临仿本中,艺术语言已经被异化成一种程式化的技法体系,而忽略了语言本身的言说性。对技法的过于依赖及对自我意识的强调绑架了语言,'技法'与'自我'隔膜了'真我'与'大地',不能基于存在本身而言说。存在转身之际,大地隐去。文章通过对比研究,让笔墨回到语言本身。让我们找回诗意的安居地,重回大地的怀抱。

Through comparative research on "Inhabiting the Fuchun Mountains" and its copies, this paper finds their signified completely different, though the copies’ skill is basically similar to the original one. The charm of the original painting results from its habitability in the sense of being, however, in those copies, the artistic language has been alienated into a stylized technique system with its signified ignored. Its language is misused by excessive dependence on the skill and overemphasis of the self-awareness,therefore it speaks not on the ground of being,because its "skill" and "self" separate "the real Self" and "the earth". The earth is obscured at the moment being is absent. Through comparative study, this paper attempts to have the brush and ink re-orientated to what they are meant to signify, helping us find the poetic habitat and embrace the earth again.