意涵·旨趣·精神:“墨戏”的美学特质

Connotations, Themes and Spirits: the Aesthetic Characteristics of “Mo-xi”

“墨戏”是中国艺术美学的重要概念,其生成有赖于艺术主体自我意识的觉醒、对艺术创作本质的觉解和艺术媒材的发展。“墨戏”一方面得益于创作实践,如王维、王默、苏轼、文同、米氏父子等人的艺术实践,一方面是唐宋时期诸多的书画评论。“墨戏”所指涵纳创作之过程和状态,并由此生成之作品,进而扩展指代一种艺术创作精神。“墨戏”思想观念经魏晋南北朝、唐至宋得到确立,并在元明清被广泛延续拓展,体现着创作主体游戏自在、率性无心的审美旨趣和创变新意、法而无法的创新精神,彰显着中国文人艺术的自我理想及其会通宇宙万物的生命特质。

“Mo-xi”(It refers to the “impromptu freehand brushwork” or the “ink play”) is an important artistic concept in Chinese aesthetics and its generation can be attributed to the awakening of the self-consciousness of the artistic subject, the understanding of the essence of artistic creation and the development of artistic media. On the one hand, “mo-xi” benefited from the creative practices, such as that of WANG Wei, WANG Mo, SU Shi, WEN Tong, MI Fu and his son, etc. On the other hand, it came from numerous calligraphies and painting comments in Tang and Song Dynasties. And thus, “mo-xi” may refer to the process and the state of artistic creation and the created works, and then it further refers to a spirit of artistic creation. The concept of “mo-xi” was established in Song Dynasty, evolving from Wei, Jin, Southern and Northern Dynasties, Tang Dynasties and was widely extended in the Yuan, Ming and Qing Dynasties. It reflects the creative subjects’ natural and unrestrained aesthetic themes and their innovative spirits that advocate innovation and adherence to the principle of spontaneity, embodying the ideals of Chinese literati art whose characteristics is to connect all creatures in the universe.