傅抱石与现代中国山水画的空间观之转变

Fu Baoshi and the Change of View on Space in Modern Chinese Landscape Painting

中国山水画中所蕴含的空间意识不仅是中国传统绘画艺术所秉承的时空观的直接体现,也是中国哲学的自然观在艺术领域中的直观体现。山水画把作为造化的自然和具有创造性的心灵结合在一起,通过水墨的方式构造一种虚境,而且使得空间节奏化、音乐化了。山水画为达到这种表现而使用的方法是“以大观小”“三远法”和空间的诗化。但是近代以来,传统山水画的价值及空间技法受到了挑战。傅抱石对于传统山水画既有继承又有创新,但他把写实主义作为山水画的基础,并且用近代的透视法和比例关系来解释传统技法,尚存在诸多商榷之处。

The concept of space contained in Chinese landscape painting is not only the direct embodiment of the space-time view upheld by Chinese traditional painting,but also the intuitive embodiment of the view on nature by Chinese philosophy in art.Landscape painting combines the nature as the creator with the creative mind,constructs a virtual environment through ink and wash,and makes the space rhythmic and musical.In order to achieve this,landscape painting uses the panoramic method,the“three-far”method and the poetization of space.However,since modern times,the value of traditional landscape painting has been challenged,and the techniques of manifesting space by traditional landscape painting have not been properly understood.Fu Baoshi inherited and innovated the tradition of landscape painting,but he took realism as the foundation of landscape painting,and used the modern perspective and proportion to explain traditional techniques,which also had many problems.