“文人画”及其理论对传统山水画发展影响研究

Influence of literati paintings on the traditional landscape paintings

中国传统山水画的发展至宋代进入鼎盛时期,此期,“文人画”的滥觞及其绘画理论的影响,逐渐改变了传统山水画的发展方向和进程。由苏轼、米芾、黄庭坚等为代表的文人画家及其理论,开始影响传统山水画理论及其艺术创作。他们以书法及文学的艺术语言形式,等同于绘画语言形式,高举“文人画”“画工画”的标尺,彰扬“逸笔草草,不求形式”“意似而已”,贬斥李成、关仝、范宽等大家的山水构建。由此,从根本上改变了传统山水画的发展方向,使传统山水画自元以下总体上逐渐耽于炫技,大部分画家的艺术创作则徒事技巧,走上了“玩弄”笔墨的歧途。

The traditional Chinese landscape painting was at its peak in the Song Dynasty where literati paintings began to take a toll.The school of literati painting headed by Su Shi,Mi Fu and Huang Tingjian argued that works such as calligraphy and literature equalled paintings.They disregarded the landscape painters such as Li Cheng,Guan Tong and Fan Kuan,veering off course of traditional landscape paintings.As a result,landscape painters in general after the Yuan Dynasty turned to show-off techniques.