《畏庐遗迹》与林纾艺术风格初探

Discussion on the Relics of Wei Lu Scenery and Lin Shu’s Artistic Style

《畏庐遗迹》收录林纾晚年创作的青绿山水画28幅,是其代表性画作,也是研究画家林纾最原始、最信实的图像资料。本文以《畏庐遗迹》为蓝本,通过与林纾的画论著作《春觉斋论画》及其它相关资料的互较,分析林纾作品中所展现出的态度、方法、趣味等问题,从而探讨林纾的艺术风格。基于上述研究,本文大致得出如下三个结论:第一,就画法而言,林纾严谨细致、恪守规矩。尽管他向往从心所欲、漫为挥洒的创作状态,却始终保持审慎态度,未敢付诸实施。第二,就画理而言,林纾的山水画通过相形相成、相反相生等基本原则,达到远观而脉络明晰,近觑而质地丰实的艺术效果。第三,就趣味而言,林纾向往烟霞作伴、林泉为志的自在生活。他的作品温和蕴藉、平淡天真,追求建构在高文化素养和心性品格基础之上的返璞归真。

The Relics of Wei Lu Scenery, a representative collection of Lin Shu, contains 26 green landscape paintings created by him after age seventy. They are the most original and convincing images for studying Lin Shu as a painter. This article takes Relics of Wei Lu Scenery as the main resource and compares it with his collected writings on painting such as Chunjuezhai lunhua(Comments on painting from Studio of Spring Awakening). It analyzes the attitude, skills and ploy showed in his works, which contribute to the discussion of Lin Shu’s artistic style in three aspects. First, on art principle, Lin Shu is rigorous and meticulous, respecting the rules. Despite his yearning for an unrestrained state of mind, he never put it into practice, but maintains a prudent attitude. Secondly, on brushwork, Lin Shu’s landscape paintings follow the dialectical way, which reaches to an effect that presents clear arrangement when viewed from a distance and abundant texture when viewed closely. Thirdly, on taste, Lin Shu is longing for a live of free spirit and poetic natural surroundings. His paintings are gentle and pure, pursing the original simplicity based on great cultural literacy and a noble disposition.