传承与疏离：论董其昌与王鉴画风演变的关系

Inheritance & Alienation: The Relationship between Dong Qichang and Wang Jian’s Painting Style Evolution

王鉴初学画时是以董其昌所提倡的南宗理论为宗,中年以后逐渐与董其昌的理论疏离,追求“作家兼士气”的理想,演变成后来宽泛的师古,呈现出合“南北宗”为一体的趋势。“同宗而异趣”,王鉴走向了一条与董其昌以及王时敏、王原祁祖孙所不同的道路,最终与学生王石谷一起形成清初“四王画派”中的另一种风格类型。本文通过分析王鉴与董其昌在画法、画论方面的关系以及家族之间的渊源,剖析清初“四王画派”中,融南北宗画法为一体的风格类型的成因。

Wang Jian began to learn painting following the theory of southern school that was advocated by Dong Qichang, then pursuing the ideal of ‘the mixture of both craftsmanship and scholarship’ breaking away from Dong Qichang’s thought at his middle age, finally integrating the south-and-north idea absorbing merits of past masters with open mind in his works. With shared origin but different tastes in style and theory, Wang Jian went his own way separating from Dong Qichang, Wang Shimin and Wang Yuanqi. He worked together with his student Wang Shigu to create one more style of the ‘Four Wangs’ school of the early Qing dynasty. The above analysis between Wang Jian and Dong Qichang in techniques and theory and origins is to find out the factors that contributed to the style integrating the northern and southern techniques.