赵伯驹画风的嬗变与定型

The Stylistic Evolution and Fixing of Zhao Boju’s Landscape Paintings

赵伯驹被董其昌视为北宗山水画的代表性人物,也是中国绘画史上擅长青绿样式的重要画家。自宋代至清代,对其绘画风格的认知存在较大差异。总体来说,经历了由宋代盛赞其能力全面,到元代激赏其道家隐逸色彩,进入明清后则推崇他工致细腻的青绿山水之风,由此逐渐定型化,并影响至今。究其原因,在于每个时代往往根据时人的理解并掺杂着想象,来对其画风进行阐释,由此构成了一个风格多样又不无矛盾的名家个案。

Taken as the representative landscape painter of the North School by Dong Qichang,Zhao Boju excels in the blue-and-green landscape paintings.From the Song Dynasty to the Qing Dynasty,opinions on Zhao’s painting style varied significantly.Generally,Zhao was spoken highly of the overall painting skills in the Song Dynasty,the Taoist seclusive style in the Yuan Dynasty,and the exquisite blue-and-green landscape style in the Ming and Qing Dynasties.Since then on,the estimations of Zhao gradually become fixed and impact on todays’view.The reason is that people’s interpretation of Zhao’s works is subject to the times and individual understanding,which causes the diverse but natural style of Zhao as a painter.