谈钱谦益评吴历“思清格老”的“格”

The evaluation of Wu Li’s“Ge”style in Qian Qianyi’s preface to“Tao Xi Shi Gao”

钱谦益79岁时作《桃溪诗稿序》中,征引刘道醇《宋朝名画评》的“思清格老”,评论时年28岁的吴历。此评以吴历赠予钱谦益的《摹刘松年〈四皓图〉》中屋木人物表现出发,兼及吴历诗作,随即又归于吴历画作。但从清人到今人对钱序的引用中,往往缺乏对钱谦益原序的语境认知与对吴历早年作品的充分关注,漠视钱氏作序的时间点,甚至将“格老”解读成吴历老年时山水画风格的老辣。事实上,钱序中的“格”是以《宋朝名画评》中“屋木门”“神品”画家郭忠恕、王士元为目标进行的发论,作为屋木画重点的法度标准才是其主要内涵。而钱序中的“老”则指以刘松年为基础,上追郭忠恕、王士元并远溯唐代李思训、李昭道,在唐宋院体绘画路径中的研味风雅。

At the age of 79,Qian Qianyi wrote the preface to“Tao Xi Shi Gao”.In this preface,he referenced Liu Daochun’s“Evaluation of Famous Painters of the Song Dynasty”with the phrase“Si Qing Ge Lao”to comment on the then 28-year-old Wu Li.Qian’s evaluation began by discussing Wu Li’s depiction of architecture and figures in his painting“Copy of Liu Songnian’s Four Hermits”and also touched upon Wu’s poetry before circling back to his painting style.However,misinterpretations of Qian’s preface are not uncommon from the Qing Dynasty to modern times.By drawing on the works of masters like Guo Zhongshu and Wang Shiyuan,whom Liu Daochun classified as“divine”painters in his critique,Qian believed that the“Ge”refers to the standard of structural precision in architectural painting.This architectural rigor is the primary focus of Qian’s praise.The“Lao”style in Qian’s assessment points to a lineage tracing from Liu Songnian back to Guo Zhongshu and Wang Shiyuan,and further to Li Sixun and Li Zhaodao.It reflects an appreciation for the scholarly elegance and refinement in the tradition of Tang and Song court painting.