【作者】 尚辉；

【导师】 梁江；

【作者基本信息】 中国艺术研究院 ， 美术学， 2008， 博士

【摘要】 松江画派虽见诸晚明、清代以及20世纪一些画学文献及美术史著述中,但对于这一画派的起讫时限、代表人物、派系构成乃至艺术特征,都未曾得到明确界定和深入研究。论文首次对画史著述中曾出现过的华亭、云间、苏松和松江各种派名之间的关系,进行了系统的钩沉清理;对文献中涉及到的画家,及他们的师承关系和艺术特征做出深入分析。论文明确提出:松江画派的构成,以董其昌为开派之首,以莫是龙、陈继儒为中坚,以顾正谊、宋旭、赵左、宋懋晋、沈士充、蒋蔼为依托。论文对松江画派的艺术风格进行了深入研讨。松江画派兴起于吴浙两派末流恶习泛滥的晚明,其艺术特征及变革作用体现在对浙派硬、板、秃、拙恶俗习气的肃清和对吴门末流细弱、繁琐、甜腻画风的改造上,从而重新确立了文人画的师承路径和创新机制。开派画家董其昌将元四家中黄、倪的画法和董、巨的画法有机地糅合在一起,从而形成古雅秀润天真幽淡的艺术风貌。以董其昌为代表的松江画派的一个重要艺术特征,就是他们在笔墨渊源上均以元四家为宗,并上溯董巨,但又各具面目。松江画派的兴盛,并不仅仅在于艺术实践上的另辟蹊径,也不仅仅在于艺术风格上的独特风貌,而在很大意义上取决于画派的开创者与骨干画家们创造性地提出的一系列理论。在中国古代众多的画派中,松江画派所提出和探究的理论课题是深入而亘古未有的。这构成了松江画派注重理论建树的重要特征。论文指出,南北宗论是松江画派在中国画学史上提出的最具有思辨色彩的画学理论。南北宗论虽然是以禅喻画、论从史出,但实际上是对唐宋以来形成的文人画进行的一次理论升华和理想重构。论文指出,南北宗论重构的文人画理想主要体现在三个方面:一是顿悟式的文人画创作心理结构,赋予了文人画家以敏锐的艺术直觉和独特的禅宗式的审美启悟。这是文人画理想重构的核心。二是强调“以画为寄”“以画为乐”的创作目的和态度,凸显了绘画所独有的审美愉悦作用和绘画本体的审美价值。三是强调“以淡为宗”的审美意趣,淡既出于自然性情,也离不开人文陶练。论文认为,南北宗论对于文人画理想的重构虽然在很大程度上是对王维、苏轼等文人画家提出文人画理念的继承与重建,但其重构性主要体现在对文人画史的重新认识与重新梳理上。因而,这种重构是对文人画理念外延的调整,是对文人画理念的对象化,是对文人画史的重组,具有极强的实践指导性。它一方面在晚明肃清了浙派末习的影响,使北宗一系画家在南北宗论提出之后几乎遭到灭顶之灾;另一方面则重新确立了南宗系统在画史中的地位,并通过对文人画师承路径的清理和疏导,使吴门画派末流不再囿于文、沈二家而能上追古人,开阔视野,从而揭开画坛新气象。但松江画派对于文人画史的重组,只是一种理念化的文人画史,而不是真正的史实。论文对松江画派重构文人画理想中史从论出的史实失误进行了剖析,指出了这种文人画理想的重构对于清代画坛产生的影响和流弊。更多还原

【Abstract】 Songjiang Painting School was mentioned by the painting learning literatures and art history writings in late Ming Dynasty, Qing Danasty and 20th century, but its period from start to end, representatives, school structure and artistic characteristics have never been defined clearly and studied deeply. The thesis, for the first time, makes a systematic review, exploration and collation on the relationships between the schools of Huating, Yunjian, Susong and Songjiang mentioned by the art history writings, and makes a deep analysis on the painters, their relationship between teacher and student as well as the artistic characteristics referred to by the literatures. The thesis puts forward its view clearly: regarding the structure of Songjiang Painting School, Dong Qichang was the founder; Mo Shilong and Chen Jiru were backbones; Gu Zhengyi, Song Xu,Zhao Zuo, Song Maojin, Shen Shichong and Jiang Ai were supporters.The thesis makes a specific study and discussion on the artistic style of Songjiang Painting School. Rising in the late Ming Dynasty when the last-stage Wu and Zhe Schools were overflowed with bad habits, Songjiang Painting School demonstrated its artistic characteristic and revolution in rooting up the Zhe School’s bad habit of stiffness, inflexibility, incompletion and clumsiness and reforming the last-stage Wu School’s style of slimness, complication and sweet, so as to reconstruct up the teaching route and innovation system. Dong Qichang, as the founder painter of Songjiang Painting School, well mixed the painting styles of Huang Gongwang and Ni Zan, two of the Four Painting Master in the Yuan Dynasty with those of Dong Yuan and Ju Ran, so as to create a classical, elegant, innocent and simple artistic style. One important artistic characteristic of Songjiang Painting School represented by Dong Qichang is that they rooted their painting at the Four Painting Master in the Yuan Dynasty and traced to Dong Yuan and Ju Fan, but with different specific styles.The flourish of Songjiang Painting School not only rested with its innovation in artistic practice or its special feature in artistic style, but to a great extent depended on the series of theories put forwarded by the founder and backbones creatively. Out of so many Chinese ancient painting schools, the theory put forward and studied by Songjiang Painting School is quite deep and unparalleled, which makes its important characteristic of theory focus. The thesis points out that the Theory of Southern and Northern Schools is the most philosophic painting learning theory in Chinese painting learning history put forward by Songjiang Painting School. Though the Theory of Southern and Northern Schools uses Buddhism to imply paintings and gives theories from the history, it is a theory sublimation and ideal reconstruction of literati paintings that appeared from the Tang and Song Dynasties.The thesis indicates that the ideal of literati painting reconstructed by the Theory of Southern and Northern Schools is mainly presented in three respects: first, the suddenly enlightened creation psychology structure of literati paintings endowed its painters with acute artistic gnosis and special Buddhist aesthetic enlightenment. Secondly, it emphasizes the creation purpose and attitude of "regarding painting as pleasure", which highlights paintings’ particular aesthetic and pleasing function as well as the aesthetic value of the paintings themselves. Thirdly, it emphasizes the aesthetic joy of "simplification is the principle", and the simplification is not only from natural temper but also indispensable to cultural influence.According to the thesis, the reconstruction of literati painting ideal by the Theory of Southern and Northern Schools to a great extent inherited the literati painting philosophy put forward by the literati painters like Wang Wei and Su Shi, but its reconstruction is mainly embodied in reacquiring and rearranging the literati painting history. Therefore, this reconstruction is an adjustment of the denotation and object of literati painting philosophy, with a great practical guidance meaning. On the one hand, it rooted up the influence of the Zhe School’s bad habits in the late Ming Dynasty so that the painters from the Northern School hardly encountered with a catastrophic defeat after the Theory of Southern and Northern Schools had been put forwarded. On the other hand, it reestablished a high status in painting for the Southern School and cleared up the teaching route of literati paintings to make the last-stage Wu Painting School not be limited to Wen and Shen Schools, so as to broaden the vision and start a new scene for painting.However, the reconstruction of literati painting history by Songjiang Painting School is only a kind of ideal literati painting history but not the real history. The thesis makes a specific analysis on the historical fact mistake of "history is from theories" in the reconstruction of literati painting ideal by Songjiang Painting School and points out the influences and abuses of this reconstruction on the painting of the Qing Dynasty.更多还原