论石涛之画境与禅境

On Shi Tao’s Zenist Paintings

清初画坛被师古之风笼罩,画僧石涛为唤醒人们对艺术精神的追求,对历史上关于“形神”的关系做了创造性的发挥,提出“不似之似”的命题,继而以“不似之似”的艺术手法来抒情表性,表现出绘画的奇妙境界。石涛绘画之境界主要受其美学观点“不似之似”的影响,此观点与禅宗“不即不离”之境在内在逻辑上具有高度的一致性。进一步而言,石涛的画境理论主要来源于禅宗的“心性论”,而禅宗的“心性论”亦指导着石涛的艺术创作实践。

In the beginning of the Qing dynasty, the art world had a bigoted belief in the ancient ways. Shi Tao developed a new relationship between "the appearance" and "the soul", and purposed a "unseen resemblance" that represents the mindscape of the artist. Influenced by this proposal, his paintings have a great aesthetic appeal that stems from the zenist philosophy of "not attached, yet not faraway".