高翔“画为书余”说探析

Analysis of Gao Xiang s Theory of“Painting is a Part of Calligraphy”

高翔绘画接续石涛,为“扬州八怪”中的杰出者,但其绘画理论并未得到深入研究。高翔的绘画用笔洗练,构图疏远,意境幽深。结合高翔的画作和题画诗,我们可以看出,其根本原因在于他的“画为书余”说。高翔强调画者自身的内在修养,达到“韵胜”的关键也在于“冷处禅”。“画为书余”说体现了高翔追求古朴淡雅、抽象写意的艺术理念。“画为书余”说近承石涛,远承赵孟頫等人,这一理论与其淡泊名利的童真性格以及佛理学识相关。

Gao Xiang succeeded Shi Tao in painting,and was an outstanding one among the“Eight Eccentric Artists of Yangzhou”,but his painting theory has not been studied deeply.Gao Xiang s painting brushwork is concise,composition is distant,the artistic conception is deep.Combined with Gao Xiang s paintings and poems on paintings,we can see that the fundamental reason lies in his theory of“Painting is a part of calligraphy”.Gao Xiang emphasized the inner cultivation of the painter himself,and the key to achieving“Yun Sheng(lasting appeal)”also lies in“Zen in the cold”.The theory reflects Gao Xiang s artistic philosophy of pursuing simplicity,elegance and abstract.This theory comes from Shi Tao nearly and Zhao Mengfu far,it is related to his innocence and his knowledge of Buddhism,which is indifferent to fame and wealth.