论王士禛画论对高凤翰人物画的影响

On WANG Shi-zhen's Influence on GAO Feng-han in Figure Painting

文章根据王士禛"诗画二者,其致一也"这一理论,考察王士禛"神韵说"在画论中的表现,发现其画论具有"兴会神到"的创作状态、自发随心的创作体验、塑造主体特征与内在精神的创作方法。通过叙述高凤翰对王士禛的尊崇程度,从而探讨王士禛画论对高凤翰人物画创作思想的影响,即体现于"神贵象外领""神不在形在其意""墨韵即画韵"三个方面。在此基础上,进一步挖掘高凤翰人物画的艺术内涵与价值。

Based on WANG Shi-zhen’s statement of “poetry and painting aim for the same purpose”, this essay explores his view on “verve” by discussing his creation state of “a delicate touch for inspiration”, his spontaneous creation experience and his creation method of “portraying subject feature and its inherent spirit”. Then the essay discusses WANG Shi-zhen’s influence on GAO Feng-han’s creation ideology in figure painting from three aspects:“deriving inspiration from concrete images”,“the inspiration lies not in the image but in the conception”, and “the verve of painting lies in that of brushstrokes”. Lastly, the essay further explores the artistic connotation and value of GAO Feng-han’s figure paintings based on the above analyses.