画学文学化的审美意蕴——以董其昌山水画理论为例

On the Aesthetic Implication of Literalization of Painting:Taking Dong Qichang’s Landscape Painting Theory as an Example

明清之际画学的文学化进程较为突出地表现在董其昌的山水画理论中。以文学思维方式对画学创新方法的影响为切入点,我们可以发现:董其昌以“势”为核心,化文法和书法入画法,在文人画领域集古人之大成且自出机杼。其创新性主要体现在语言之高古(辞)、机法之圆熟(理)、境界之秀润淡雅(格)三方面。三者的有机综合,突显了文人画的文学性。这种画学文学化的理论导向,为明清之际文人画的仿古创新提供了新思路。它使画家将注意力转向中国画笔墨语言的巧妙组织和造型的夸张变形,也使明清之际的绘画表现出特殊的、形式化的审美趣味追求。

During the Ming and Qing Dynasties, the literarization process of painting was more prominent in Dong Qichang’s landscape painting theory. Taking the influence of literary mode of thinking on the innovative methods of painting as a breakthrough point, we can find that Dong Qichang, taking “momentum” as the core, incorporated the art of literature and calligraphy into painting. He not only absorbed the great achievements of the ancients, but also blazed out a new path in landscape painting. His innovation was mainly embodied in three aspects: the elegance and simplicity of the language (diction), the sophistication of the method (mechanism), and the serenity and gracefulness of the state (style). The integration of the three aspects highlighted the literariness of literati painting. This theoretical orientation of literary painting provides a new way of thinking for the men of letters to both model after ancient paintings and to innovate in the Ming and Qing dynasties. It makes the painter turn his attention to the ingenious organization of the language of brush and ink as well as the exaggeration of structures in paintings, and presented a special and formal pursuit of aesthetic interest in the paintings.