山水画龙脉理论的图像解读

Pictorial Interpretation of the Dragon Vein Theory in Landscape Painting

清初画家王原祁在《雨窗漫笔》提出了山水画的龙脉理论。山水画的龙脉逐渐形成了一种特殊的视觉景观。山水画的龙脉理论是把堪舆学的龙脉理论借引到绘画实践中的时代创新。中国山水画发展至宋元后把可居可游作为追求目标,绘画大师把生活中建筑选址、修路架桥问题转化为艺术景观的绘画问题,中国传统山水画把传统建筑同自然环境完美和谐地移植在艺术创作中,自觉地实现艺术的超越与龙脉的图像景观化。

Wang Yuanqi, a painter in the early Qing Dynasty, put forward the theory of dragon veins in landscape painting in The Ramblings of the Rainy Window. The dragon veins in landscape painting gradually formed a special visual landscape. The theory of dragon veins in landscape painting is an innovation of the times that lends the theory of dragon veins in geomancy to the practice of painting. After the development of Chinese landscape painting in the Song and Yuan dynasties, the pursuit of livability and tourability became the goal, and the masters of painting transformed the problems of siting buildings and building roads and bridges in life into the problems of painting artistic landscapes. Traditional Chinese landscape painting transposes traditional architecture and the natural environment in perfect harmony in artistic creation, consciously achieving artistic transcendence and the pictorial landscaping of the dragon veins.