中国画的触觉价值

The Tactile Value of Chinese Painting

19世纪末20世纪初,西方艺术史家如伯纳德·贝伦森和沃尔夫林等人已发现了绘画并非只具有视觉价值,还有其触觉价值。比较而言,在中国古代审美文化中,不仅古玩、玉器、奇石等物具有触觉价值,中国画也有一种独特的触觉价值。中国画的触觉价值源于中国书画的亲缘性。中国历来有“书画同源”“书画用笔同法”之说,而书法用笔形成特殊的“笔触”,书法审美在很大程度上就是笔触审美。中国画的触觉价值有深浅两个层次。浅层次是笔触,深层次是笔墨。在中国绘画史上,触觉价值有一个由浅入深的过程。相较而言,元代以前的中国画,其触觉价值偏于笔触;元代以后的中国画,其触觉价值偏于笔墨。

At the end of the 19th century and the beginning of the 20th century,Western art historians such as Bernard Berenson and Wolfflin had already discovered that paintings did not only have visual value,but also tactile value.Comparatively speaking,in ancient Chinese aesthetic culture,not only antiques,jade and marvelous stones have tactile value,but also Chinese paintings have a unique tactile value.The tactile value of Chinese paintings stems from the affinity of Chinese calligraphy and painting.It is recognized in China that“calligraphy and painting have the same origin”and“calligraphy and painting use the same brush”,and brush is used in calligraphy to form a special“brush stroke”so that the aesthetics of calligraphy is,to a large extent,the aesthetics of the brush stroke.The tactile value of Chinese painting can be seen in two levels:the shallow level is the brushstroke,and the deep level is the brush and ink.In the history of Chinese painting,there is a process of tactile value from shallow to deep.By comparison,the tactile value of Chinese painting before the Yuan Dynasty favored brush strokes,while the tactile value of Chinese painting after the Yuan Dynasty favored brushand ink.