传统水墨花鸟画之源流与缘变阐幽抉微

【作者】 韩璐；

【导师】 闵学林； 曹意强；

【作者基本信息】 中国美术学院 ， 中国画·花鸟， 2011， 博士

【摘要】 本论文在阐述过程中,分为五个章回,并以水墨花鸟画的萌生、确立、发展、流变为主线,以探究水墨花鸟画审美、技艺源流和风格、师承缘变为论述内容,以图像和文献资料为展开论述基础,结合自身的水墨花鸟画创作实践经验,通过章、节、目、点的行文框架,有所侧重的逐级论述。在论述中,阐明自己的绘画、学术观点,并加以阐释,做到有理有据,合情合理,客观详实。笔者将水墨花鸟画的存在样式及表现特征归纳为四种,即具有皇家宫廷院体特征的水墨花鸟画；具有传统文人士大夫性征的水墨花鸟画；具有禅宗修行意味的水墨花鸟画；具有坊间市井意韵的水墨花鸟画。在第一章里,着重阐述水墨花鸟画确立的历史文化渊源。通过论述水墨花鸟画风格的确立,延伸到水墨花鸟画的文化底蕴以及相关的美学思想。笔者认为,任何一种艺术样式的萌生皆有其内在的理论基础,这种理论基础得益于历史文化经典的传承积累与时代文化导向的熏染催化,这或者说是一种传统文化的潜在基因作用和时尚文化的外在引领作用。水墨花鸟画的形成与发展,无疑受到这两种文化直接或间接的影响。自第二章开始,对水墨花鸟画的四种存在样式分别进行论述,在论述的方式上并非平铺直叙,而是截取最有代表性的人物进行时空跨越式的类比。譬如在第二章中,例举了院体皇帝画家宋徽宗赵佶和明宣宗朱瞻基的水墨花鸟画,并选取了两位帝王的宸翰进行比较说明,从而对院体绘画的发展进行深入阐微。另外也包括一些院体绘画的代表人物。在第三章中,例举了北宋文人士夫画的倡导者苏轼和明末文人大写意水墨花鸟画的实践者徐渭。本章在论述和比较中,阐明自己对文人绘画的观点,并通过四君子绘画,进一步阐宏发微。在第四章中,阐述了佛教禅宗对水墨花鸟画的影响,例举了宋末元初的法常与明末清初的朱耷,并涉及到“一花开五叶”的禅宗流派及其主要思想主张。在第五章中,重点介绍了坊间画家的花鸟画创作,并有意识的将坊间画家的水墨花鸟画创作与佚名和知名的前代画家画作进行图象类比,从中探寻坊间画家与水墨花鸟绘画的笔墨渊源与翰墨情缘。通过对水墨花鸟画“源”与“缘”的探究,结合文献和图象,梳理出了水墨花鸟画在演进过程中一个相对比较清晰的发展脉络与框架,从中得出如下结论：传统水墨花鸟画是中国传统绘画艺术中的重要组成部分,是一门传承有序的绘画样式,是中国历史文化发展中的重要图像文献。水墨花鸟画既包含了中国传统文化的共性审美渊源,也在发展过程中逐渐构建起了个性化的翰墨缘分。水墨花鸟画既有内在文化基因的稳定性和一贯性,又具有外在形式的多变性和复杂性。其萌生与确立,得益于本土文化思想中对朴素、自然之美的心性崇尚。它是中华民族优秀传统文化思想在不断积淀和赓续中的产物。同时也是社会政治、经济发展过程中,在审美意识形态上的反映。它的发展与流变,既与人性内在的宗教信仰、志趣追求、审美崇尚有所关联,又与特定社会历史时期,在外在审美导向上的转移息息相关。水墨花鸟画艺术在当代的多元文化中,与众多的绘画艺术样式一起,共同构成了当代绘画艺术的风景线。对水墨花鸟画创作而言,基于传统历史文脉,契合时代精神导向,深入生活,不断创造,继往开来,锐意出新,这是不二的选择。用理性把握方向,用感性彰显激情,用智慧提升水墨花鸟画的价值与魅力,最终完成水墨花鸟画艺术的历史转捩。更多还原

【Abstract】 The paper includes five chapters. According to the initiation, establishment, development and evolution of flower-and-bird ink and wash, the paper expounds the aesthetics, artistic origin and style, master and discipline relationship based on images and literary materials. Combining with his own painting practice of flower-and-bird ink and wash, the author gradually expounds his painting and academic point of view, being reasonable, objective and informative.The author concludes four styles and features of flower-and-bird ink and wash, namely the royal palace style, traditional literati style, Zen style with meaning of Buddhism practice, and folk style with marketplace connotation.The first chapter focuses on historical and cultural origins of flower-and-bird ink and wash. By discussing the establishment of styles of flower-and-bird ink and wash, it extends to discuss the cultural connotation and related aesthetics. The author holds that art of any kind has inherent theoretical basis due to historical and cultural inheritance and the edification of the times, or rather traditional culture and external fashion. The formation and development of flower-and-bird ink and wash is directly or indirectly influenced by the two cultures.The four styles of flower-and-bird ink and wash are discussed separately in the second chapter and afterwards. The paper compares the most representative masters across space and time. For example, the second chapter compares paintings of two royal painters, namely Emperor Huizong Zhao Ji of the Song dynasty and Emperor Xuanzong Zhu Zhanji of the Ming dynasty as well as their calligraphy, and thus expounds the development of royal paintings. It also includes other representatives of the palace painting.The third chapter gives examples of the advocator of literati painting in the Northern Song dynasty Su Shi and Xu Wei in the Ming dynasty, accomplished at freehand flower-and-bird ink and wash. The chapter expounds views on the literati painting in the discussion and comparison, and further explains the viewpoint by introducing paintings of four men of honor.The fourth chapter describes the influence of Zen of Buddhism on flower-and-bird ink and wash. It gives examples of Fachang in the late Song and early Yuan dynasty and Zhu Da in the late Ming and early Qing dynasty. It refers to "a flower with five leaves" of the Zen school and its main ideas.The fifth chapter focuses on the flower-and-bird ink and wash created by folk painters. It intentionally compares their paintings with those of anonymous and famous artists in earlier dynasties, so as to explore the origin and affinity between folk painters and flower-and-bird ink and wash.By probing into the "origin" and "affinity" and combining with documents and images, the paper sorts out the development context and framework of flower-and-bird ink and wash during its evolution.Traditional flower-and-bird ink and wash is an important part of traditional Chinese painting, is a painting style with tradition, and is an important image document in the development of Chinese history and culture. It contains both the common aesthetic of traditional Chinese culture and a unique affinity with calligraphy. Flower-and-bird ink and wash embraces both stability and consistency of internal culture and variability and complexity of external form. Its initiation and establishment stems from the respect for the simple and natural beauty, and results from the continued accumulation of traditional Chinese culture and thought. It also reflects the aesthetic ideology in social political and economic development. Its development and evolution is related with the religious belief, interests, pursuit and aesthetic, as well as the change of aesthetic orientation in a specific social and historical period.In modern pluralistic culture, flower-and-bird ink and wash along with many other painting styles constitute contemporary painting art. The creation of flower-and-bird ink and wash should base on the history, be consistent with the spirit of the times, combine with life experience and be creative and innovative. We should rationally grasp the direction, emotionally highlight the passion, enhance the value and charm of flower-and-bird ink and wash with wisdom, and ultimately complete the historical transition of the art of flower-and-bird ink and wash.更多还原