【作者】 孙恩扬；

【导师】 范曾；

【作者基本信息】 中国艺术研究院 ， 艺术学， 2010， 博士

【摘要】 泼墨是中国画独特而重要的水墨画法,也是文人绘画写意观念和逸品美学之集中体现,为水墨之法眼,写意之极则。尽管泼墨技法利用与创作成为中晚唐以后尤其明清画史的普遍现象,但对于早期泼墨画的形成机制、发生轨迹、美学特征以及泼墨写意观念之历史意义诸方面的研究与著述并不细致。基于这个原因,本文从唐代泼墨画的肇创期为基点,兼以考察当时的文学诗歌作品、艺术形态、地域特征、审美心理等内容,主要关注早期泼墨画史之形成脉络和文化机缘,泼墨对后代写意画创作观念的影响,以及泼墨画所体现的文化观念与美学价值等诸问题。安史之乱后复杂多变的社会政治局势使文人士大夫的审美趣味以及整个文化形态都发生了巨大变化,泼墨画就在这种情势下发生在当时相对安定的南方地区,并以此地区为中心而影响了未来水墨画的写意表现倾向。虽然晚唐张彦远对于泼墨有偏见,但从整个画史来看,唐代泼墨法并非偶然性技巧,它不是怪诞的传奇故事,也不是昙花一现式有限审美接受,它有持续演化过程和美学理想。早期泼墨画呈现出文人士大夫间的艺术交流状态,泼墨过程变成艺术心灵交流之现场。例如在顾况、王洽、张志和等人泼墨过程中,观者与歌舞者动作等皆作为泼墨创作的一部分,绘画成为艺术主体、接受者共同的审美发现与创造,对后来文人画强调主体精神的创作观念产生深远影响,早期逸品美学正发轫于唐代泼墨,也启发了后来“逸笔”、“墨戏”、“活笔”等诸多写意画法和笔墨观念,从而构成了未来写意水墨画之发展张力和审美价值来源。应该说后代画史在唐代找到了两个重要源头,一是文人画“诗画本一律”之诗画一如理想,另一个就是文人画烟云墨戏之泼墨写意观念。唐代泼墨超越了绘画技巧层面而成为中国艺术之写意象征,以最简单直接的泼墨方式达到了自我存在的诗性,水墨泅化的过程意味着灵性与无限的自由想象力,成为中国独有的艺术表达方式。从艺术创造的心灵与性灵自由特征来讲,泼墨是中国文化传统和审美理想的绘画呈现,其写意表达方式与审美启示更是现当代中国画所要坚持的重要价值流传。更多还原

【Abstract】 Keywords:splashed-ink painting, xieyi (free sketch), yi (the untrammeled class), aesthetic valueInk splashing is one of the most important shuimo techniques of Chinese painting that epitomizes xieyi and yi aesthetics of ancient literati paintings. Although this technique has become prevalent since Tang, especially in Ming and Qing Dynasty, its early formation and development, aesthetic features, xieyi principles that underlie it, and its historical significance have rarely been comprehensively accounted.Initiated upon a study of splashed-ink painting of Tang Dynasty in reference to Tang history, regional features, aesthetic psychology, its contemporary literature and other art forms, this thesis traces the evolution and cultural circumstances of early splashed-ink painting, explores its impact on later xieyi painting, its cultural philosophy and aesthetic value.Splashed-ink painting came into being in the comparatively safe southern area of mid-Tang, when there was a great change in the literati’s aesthetic preferences and cultural pattern due to the Tianbao Rebellion and the increasingly complicated political situation since mid-Tang. Splashed-ink painting is not featured by legendary providence and short-lived reception. Rather, it undergoes enduring evolvement with its own aesthetic principals and ideal. A look into the mid-Tang splashed-ink painting reveals how the process of splashing ink is literally the site where the spiritual communication between literati-especially between the poets and hermits-took place. When artists like Gu Kuang, Wang Qia and Zhang Zhihe painted their splashed-ink works, the spectators and dancers all became part of the ink splashing process so that painting comes to be the artists’ and audience’s cooperative aesthetic creation and discovery. This idea is of great consequences in the artistic principles of later literati painting. And it is right in Tang splashed-ink painting that the yi aesthetics which disregards the representation of an object’s external appearance began to germinate and gradually paved the way for later xieyi shuimo painting.It is observed that the subsequent Chinese paintings inherit two prominent origins from Tang, one being the literati’s "painting is in poetry and poetry is in painting" ideal, the other being the xieyi conception in ink-splashing.Ink-splashing of Tang is not only a painting technique, but more of a xieyi representation of Chinese arts and culture. With the most direct and immediate operation of ink-splashing, the poetic existence of the self is fulfilled; and with the spread of ink and water on xuan paper, boundless imagination and sensitivity is inspired. In light of its artistic freedom and spirituality, the xieyi expression of ink-splashing is precisely the value that the present-day Chinese painting should retain.更多还原