“丘壑”论——兼谈中国山水画论中的艺术图式

On the Imagery of“Mountains and Valleys”:The Artistic Image Mode in the Theory of Chinese Landscape Paintings

“丘壑”是在中国山水画论中普遍存在的一个重要概念,在山水画的创作中,有着不可取代的重要功能。而因其描述性的特征,又兼内涵复杂,从学理上进行阐释与建构的论著尚付阙如。如何以客观的态度,从大量的山水画论中进行勾稽,并予以学理性的阐释?“丘壑”并非指客观山水物象,而是画家在学习前人名迹中获取的内在的山水图式,而在当下的创作中,又要以眼前的山水物象对这种内在的图式进行矫正,从而形成具有创造性的作品。内在图式与当下的山水物象的接合,也即“丘壑发之于外”,可以认为是审美投射的过程。丘壑与笔墨的关系在创作实践中尤为重要。丘壑发之于外,端赖笔墨;而画家倘无内在的独特的丘壑,笔墨也只能得其形似,无气韵可言。

The imagery of“mountains and valleys”is an important concept that has prevalently existed in the theories of Chinese landscape paintings.It has an irreplaceable function in the creation of landscape paintings.However,due to its descriptive characteristics and complicated connotation,there are few works on its explanation and construction from the theoretical perspective.This paper is intended to take an objective attitude to extract from a large number of landscape painting theories,and give it a rational explanation.The author believes that the imagery of“mountains and valleys”does not refer to the objective landscape images,but to the internal landscape image modes acquired by the painters in learning from their predecessors'famous works.While in their current creation,the painters need to rectify these internal image modes with the landscape images in front of them,so as to form new creative works.The combination of the internal image modes with the current landscape images,or in other words,“the imagery of mountains and valleys coming from the outside”(“丘壑发之于外”)can be regarded as the process of aesthetic projection.The relationship between the imagery of“mountains and valleys”and the painting skills by“brush and ink”(笔墨)is particularly important in creative practice.Though the imagery of“mountains and valleys”comes from the outside,it relies on the painting skills by“brush and ink”.But if a painter does not have his inner unique imagery of“mountains and valleys”,he can only use his“brush and ink”to paint images of mountains and valleys similar in shape,but without charisma.