山水“人迹”:再议八大山人的山水观照与遗民旨趣

Landscape and"Human Traces":Further Discussion on the Landscape Observation and NostalgiaofBadaShanren

八大山人作品中蕴藏奇特而怪诞的各种“密符”是历代研究者的研究主线,但主要聚焦于花鸟画而缺乏对其山水画的研究。将八大山人的山水画立足于中国山水画中的“人迹”演变历程中、追溯其山水画写意精神的源流,依据其山水画作中钝秃笔法、半僧半道、半哭半笑、无水无土及翻白眼的各类“画眼”与“人迹”,探究他运用符号表达图像构造与心态写照,并以此充当研究八大山人点景人物山水画之重要补遗。

The unique and bizarre"secret symbols"hidden in the works of Bada Shanren have been the main research focus of researchers throughout history,but the focus is mainly on flower and bird paintings and there is a lack of research on their landscape paintings.Based on the evolution of the"human traces"in Chinese landscape paintings,we can trace the origin of the freehand spirit in landscape paintings.According to the various"painted eyes"and"human traces"in their landscape paintings,including blunt and bald brushwork,half monk and half Taoist,half crying and half laughing,no water and no soil,and rolling eyes,this article explores the use of symbols to express image construction and psychological portrayal,and serves as an important supplement to the study of landscape paintings of Bada Shanren's scenic figures.