王冕绘画艺术风格与美学观念探析

Wang Mian′s Artistic Style and Aesthetic Concepts

王冕提倡复古、以书入画,在元代画坛独树一帜。其画作既师法宋人僧仲仁、扬无咎等,又有所突破,具有“隐逸之风”的艺术特征。王冕倡导从传统中自出新意的创造性艺术实践,在画作中首创万玉式“密梅”画法,有“铁线圈花法”与“破蕊法”之技法新变,且开花药石治印之先河,奠定了其在元代画坛的重要地位,给后世以巨大的影响。从现存王冕的墨迹来看,其题画诗及绘画作品不仅体现出率意超然、清新脱俗的艺术风格,而且具有“适意写趣,承前启后”的承传精神、“托画寄意,以诗达意”的写意观念及“书画同源,以书入画”的绘画理念,展现出其对文人画古风的延续与创新,以及将绘画与诗、书、印完美融合的艺术追求。

In his early years,Wang Mian was deeply influenced by Han Xing and Zhao Mengfu and advocated the″two kings″.After his reclusion in the mountains and forests,the thought of Buddhism and Taoism penetrated into the practice of calligraphy and painting,with the″reclusion″and″retro″trend of thought being the most prominent.Wang Mian advocated the use of calligraphy in painting,and advocated the creative art practice with the new ideas generated from the tradition.He pioneered the Wanyu-style″Mimei″painting method,the new changes in the techniques of″the method of flower cycling with iron wire″and innovative skill of″stamen-breaking method″,and the first Huayao stone to carve the seal,which established its important position in the Yuan Dynasty.From the existing writing and painting of Wang Mian,his poems inscribed on paintings not only reflect the artistic style of detachment and freshness,but also have the spirit of inheriting the tradition of″freehand brushwork of preference,connecting the past and the future″,the concept of freehand brushwork of″relying on painting to express ideas,expressing ideas with poetry″,and the painting concept of″the same origin of painting shared with calligraphy″,showing his innovation and continuation of the ancient style of literati painting,as well as his artistic pursuit of perfect integration of painting with poetry,calligraphy and printing.