渐江山水画的笔墨图式及审美意蕴

Study on the Brush and Ink Schema and Aesthetic Implication of Jian Jiang Landscape Painting

渐江生于明末清初,明朝覆灭后保持气节而落发为僧。渐江隐逸山林,寄情山水,成为新安画派的领军人物。渐江在山水画图式表达上师法传统并注重创新,形成了横向平远式、全景叠嶂式、特写边角式的构图样式。就其笔墨图式特点来看,渐江早期师法传统,笔墨干枯苍润,线条多呈几何形,少皴擦晕染,尤爱倪瓒笔法;同时,在其山水画的创作中注重师法自然,对景写生,以画写心。渐江在其山水图式上呈现出谨严清旷、疏寒静逸的美学意蕴,这都是他心路历程和审美精神的写照。

Jian Jiang was born in the late Ming and early Qing Dynasties.After the fall of the Ming Dynasty,he kept its integrity and became a monk.Jian Jiang abandoned himself to the nature and become the leader of Xin’an Painting School.Jian Jiang expressed Guru’s tradition in pattern but on innovation,forming the composition style of horizontal and far-reaching,panoramic overlapping hills and close-up corner.In terms of the characteristics of his brush and ink schema,in the early period,Jian Jiang preferred Ni’s brushwork with the brush and ink tradition was dry and grey,the lines were mostly geometric and less chafing and dizziness.On the creation of landscape painting,Jian Jiang paid attention to learning from nature and painting from life to heart.Jian Jiang presents the aesthetic implication of rigorousness,clearness and calmness in his landscape schema,which is the portrayal of his mental journey and aesthetic spirit.