北宋“墨戏”概念的禅宗画性质辨析

An Analysis of the "Ink Play" Concept in the Nature of Northern Song Zen Paintings

日本美术史学者对禅宗画追根至中国唐宋的研究,引发了中国画史上是否存在禅宗画的争议。梳理"墨戏"一词在出现之初的使用情况,从原本隶属于文人画大概念下的文人墨戏概念中指出其禅宗渊源。墨戏是在北宋苏轼、黄庭坚等一批外儒内禅的居士文人与惠洪、仲仁等禅僧的交往中产生的,诞生之初便具有禅宗的精神内核,是禅宗思想指导下的绘画实践。

The research conducted by Japanese art historians who traced the roots of Zen painting to China’s Tang and Song dynasties triggered a debate over the existence of Zen paintings in the history of Chinese painting.Research into the usage of the term"ink play"(moxi墨戏)at the time of its appearance points to its Zen origins grounded within the concept of literati"ink plays".The practice of"ink plays"emerged in the Northern Song dynasty as a result of the activities of a group of scholars,such as Su Shi and Huang Tingjian(who may be regarded as confucian on the outside and Zen on the inside),and monks like Huihong and Zhongren."Ink plays"may thus be understood as a painting practice informed by Zen thought.