思想史境遇下清末民初绘画的“金石入画”研究

Research on“Integration of Epigraphy into Painting”in Late Qing Dynasty and Early Republic of China under the Circumstance of Ideological History

清初,傅山倡导“四宁四毋”开启了清代碑学的启蒙。清代碑学的出现不是必然的,它是由思想史的演变构成的,是一种断裂式的书法变迁。与此同时,碑学的出现又激发了这一时期绘画风格的重大创新与变革。碑派书法倡导的质朴、古拙的艺术精神与雄强、浑穆的审美理念,矫正了帖学影响下绘画纤弱、柔媚的画风,使绘画的面貌焕然一新。赵之谦、吴昌硕等为代表的金石画派,以融合了碑学书法的雄厚拙朴笔意入画,为绘画注入了“金石之气”。在清末民初西方绘画激烈地冲击中国传统绘画领域时,他们以“金石入画”的变革,加上自身传统文化的深厚积淀,突破了中国传统绘画单一的审美模式,将传统中国画推到一个崭新的境界,开启了近代中国画全新的局面。

In the early Qing Dynasty,Fu Shan initiated the enlightenment of the study of steles in the Qing Dynasty.It can be said that the appearance of stele school in the Qing Dynasty is not inevitable;it is formed by the evolution of ideological history and is a kind of calligraphic change.At the same time,the emergence of stele study stimulated the great innovation and reform of painting style in this period.The simple and unadorned artistic spirit advocated by the stele-school calligraphy and the magnificent and obscure aesthetic concept have corrected the delicate and gentle painting style under the influence of the post school and made the painting look brand-new.The school of epigraphy painting represented by Zhao Zhiqian and Wu Changshuo combined the magnificent and simple style of epigraphy calligraphy into painting,injecting“the spirit of epigraphy”into painting.At the end of the Qing Dynasty and the early period of the Republic of China,when western paintings violently impacted the field of traditional Chinese painting,they broke through the single aesthetic mode of traditional Chinese painting with the reform of“Integration of Epigraphy into Painting”and the profound accumulation of their own traditional culture,pushed traditional Chinese painting to a new realm and opened a new situation of modern Chinese painting.