从“重气”到“尚韵”:中国文人画美学品格变迁理路探究

From“Emphasizing Qi”to“Advocating Rhyme”:A Study on the Change of Aesthetic Character of Chinese Literati Painting

考察从东晋顾恺之始至清末民初康有为、陈师曾和徐悲鸿等众多有识之士论画的1500多年绘画历史,我们发现,中国文人画的美学品格经历了一个由“重气”到“尚韵”的变迁理路。而在中国文人画美学品格发生转折的关键点上,顾恺之、谢赫、张彦远、荆浩、郭若虚、苏轼、米芾、赵孟頫和董其昌等书画家,担负起了历史给予他们的神圣责任和光荣使命。尤其是明末画家董其昌,他对“董、巨逸轨”的中国文人画图式语言赞叹至极,并对中国文人画的“尚韵”理论作了全面、深刻且系统的总结。因此,从某种层面而言,中国文人画“尚韵”的理论主张始于苏轼,成于董其昌,的确是有道理的。

After studying the 1500 years of painting history from the beginning of Gu Kaizhi’s discussion of painting in the Eastern Jin Dynasty to the end of the discussion of painting by many people of insight such as Kang Youwei,Chen Shizeng and Xu Beihong in the late Qing Dynasty and the early Republic of China,we find that the aesthetic character of Chinese literati painting is not unchangeable.It has experienced a change from“emphasizing Qi”to“advocating Rhyme”.And at the key turning point of the aesthetic character of Chinese literati painting,Gu Kaizhi,Xie He,Zhang Yanyuan,Jing Hao,Guo Ruoxu,Su Shi,Mi Fu,Zhao Mengfu and Dong Qichang,all of them have shouldered the sacred responsibility and glorious mission given by history.Especially in the late Ming Dynasty,Dong Qichang praised the painting style language of“Dong and Ju”,and made a comprehensive,profound and systematic summary of the theory of“advocating rhyme”in Chinese literati painting.Therefore,to some extent,the theory of“advocating rhyme”in Chinese literati painting began with Su Shi and matured with Dong Qichang.