从描写到书写:张彦远“疏密二体”用笔考

From Stroke to Writing:Investigation on ZHANG Yanyuan's"Sparse and Dense Styles of Calligraphy"

"疏密二体"出自张彦远《历代名画记·论顾陆张吴用笔》,本指两种用笔方法,今人却对其多作"线条多少"或"两种风格"理解。张彦远把密体用笔生动喻为"盼际",把疏体用笔形象说成"离披"。从造型艺术技术史角度而言,密体用笔源自远古刻描法,逐渐发展形成了盼际般精细游动、首尾一致的描写性用笔之法,顾恺之将其转换成高古游丝描;疏体用笔源自汉末魏晋书法用笔的体性、韵势、笔阵、行气之法对绘画的影响,形成离披般具有点、斫、曳、拂、蹂等特点的书写性用笔之法,吴道子凭借对草书的学习与领悟,完成了"书画用笔同法"的异质同构,实现这种用笔之法的艺术升华。

"Sparse and dense styles of calligraphy " comes from ZHANG Yanyuan’s Famous Painting Notes of the Past Dynasties·On GU Lu and ZHANG Wu’s methods of Chinese Brush Using,which originally refers to two methods of using brush,but today people often consider it as "lines" or "two styles".ZHANG Yanyuan vividly described the dense method of brush using as "Panji",and described the sparse method as "Lipi".From the perspective of the history of plastic art technology,the use of dense brushes originated from the ancient engraving method,and gradually developed a fine-swept,consistent and stroke method of writing.GU Kaizhi converted it into a precisely stroke.The sparse strokes originated from the influence of the calligraphic style,rhythm,stroke pattern,and breathing technique in the late Han and Wei Dynasties on the painting.It was forming a unique writing with the characteristics of dots,zhuo,drags,brushes,rubs,etc.,WU Daozi completed the heterogeneity and the same structure of "the same method of using brush for calligraphy and painting" by virtue of studying and comprehension of cursive script,and realized the artistic sublimation of this method of brush using.