潘天寿诗画同源于“听天阁”——兼论其“士人画”的五个特点

Tingtian Pavilion as the Origin of Pan Tianshou’s Poems and Paintings and the Five Characteristics of Literati Paintings

潘天寿(1897—1971)无疑是继吴昌硕、齐白石后,足以标志20世纪中华水墨(花鸟)峰值的大艺术家。与吴昌硕的盖世雄浑、齐白石的大野朴茂相比,潘天寿画面的金石气暨霸悍笔墨,堪称天才之崇高,宛若其心头高耸的听天阁,回响着星空般圣洁的人格自圣之律令。故欲聆听其“士人画”的大音希声,最佳途径是细读其题画诗,那儿铺着让人拾级而上、直通心灵听天阁的诗意台阶。此台阶分五层,拟在隐喻其士人画的“元点”“格调”“洁癖”“担当”与“命运”;其题画诗与此相对应的意象也恰好有五个,依次为“散僧入圣”“以我为峰”“空山流水”“高处欲雪”及“梅月独俏”。

Pan Tianshou(1897-1971)was a master that reached the peak of Chinese painting(of fl owers and birds)in the 20th century after Wu Changshou and Qi Baishi.Compared to Wu’s grandeur and Qi’s ingenuousness,Pan’s paintings have a metallic,overwhelming,and even genius sublimity,as austere as the towering Tingtian Pavilion that symbolizes the solemn laws of inner discipline.To understand Pan’s literati paintings,one has to close read the poems in his paintings in which lies a poetic staircase to the“Tingtian Pavilion”in his heart.This staircase consists of fi ve steps that imply the origin,taste,pureness,responsibility,and fate of his paintings,while accordingly there is fi ve imagery in the paintings:“The Epiphany of the Secluded Monk”,“I am the Mountain”,“Running Waters in Hollow Mountains”,“Snowy on High”,and“The Moon and the Plum Blossom”.