南唐江南画的形成及其笔墨特征

【作者】 翁志丹；

【导师】 张伟平； 林海钟；

【作者基本信息】 中国美术学院 ， 美术学， 2010， 硕士

【摘要】 南唐绘画在中国绘画史上占有特殊的意义,南唐烈主李昪(888-943)、中主李璟(916-961)、后主李煜(937-978)三朝,共三十九年。因政治上祖述李唐,故多效法唐朝体制,在文艺上出现了徐熙一族、董巨、卫贤、顾宏中、周文矩、曹仲玄等大家。南唐画家在水墨一路上多有继承吴道子、王维等唐法,对后世画史造成了巨大影响。米芾在《画史》中多次提及南唐“江南画”的概念。本论文旨在探究南唐江南画的形成原因及其笔墨特征。第一部分南唐政权的意识形态及其江南画的形成背景:第一节略述李昪建立南唐后,以唐朝苗裔自居,充分继承唐代制度,并广泛收集前代图籍。烈主李璟,后主李煜两朝更是文风鼎盛,加之自身文艺素养极高,引导了南唐绘画之繁荣。第二节进一步了解南唐的地理特征,试图对南唐真山水之品有初步认识,查列南唐地域中的各地名胜。第三节阐述吴地画家自六朝以来就有悠久的绘画传统。特别是在人物画上最早也最完美地实践着“六法”的创作精神。第二部分南唐江南画肇始了士大夫绘画的文学性自觉:第一节略述南唐的文化氛围,得出南唐江南画肇始了士大夫绘画的文学性自觉,这表现在江南画无论在立意,体裁上都具有文学化品格,特别在李煜时期,诗画的相融有一定的进展。第二节以卫贤为个案说明在南唐文化氛围及李后主的影响下,界画有了极大的突破,致使卫贤绘画成为不可多得的屋木门神品。第三部分江南画确立了以“平淡天真”为宗的绘画审美:第一节略述董源在宋人画论中的地位变迁,从中看出米芾对董源的发现具有极为重要的影响。第二节略述明清画家的南北宗论,从中说明董源是如何被追奉为南宗祖师,并以此反观南唐江南画所具有的特质。第三节从《夏景山口待渡图》试论董源墨法上师承了张璪、王维开导的唐法,其皴法自水法的迁想妙得中来,并与顾恺之有内在的渊源。第四节比较董源的《溪岸图》和巨然的《山居图》,从两图的相似性,试谈董源写江南真山问题。第五节试图理清巨然在多大程度上继承了董源绘画的精神及其技法,同时还做了何样的突破。董巨在绘画史上的影响,巨然“烟岚景”起着重要贡献。第四部分南唐江南画建立了以笔墨为核心的书画品格:南唐对书法的普遍重视,李煜自身诗书画三绝,全面引导南唐画风,以及南唐对文房用具的考究三方面说明以李煜为中心的南唐建立了江南画的笔墨品格,在绘画上强调“美韵,温秀,俊迈,蕴藉,格清”之品,主张书法与绘画的互济,特别是李煜“金错刀”对唐希雅,周文钜等产生了重要影响。第二节着重略述徐熙的生平问题,其原名应为徐景熙,徐熙应为南唐皇室的亲属,其地位介于贵胄与隐士之间。第三节略述徐熙的画风问题,对其“落墨花”的分析得出徐熙画相较西蜀黄筌一路而言极重笔法和墨法,且其画具有极强的“笔墨品格”。第四节分析历代画家对“笔墨”之有无的论述,再次印证五代时期,完成了笔墨品格中最为重要的生发之义,渐而说明五代人对于“唐画山水,至宋始备”进程中所作出的特殊贡献。更多还原

【Abstract】 The painting of South Tang Dynasty takes a considerable place in the history of Chinese painting. The South Tang Dynasty includes the three empires of Li Sheng, Li Jing and Li yu, and lasts for 39 years. Because of the political origin of Li Tang, most of its political systems follow the patterns of Tang Dynasty. This period has given birth to many famous painters, such as Xu Xi, Dong Yuan, Ju Ran, Wei Xian, Gu Hongzhong, Zhou Wenju, and Cao Zhongxian. In Chinese landscape painting, the painters in the South Tang Dynasty mostly inherited the tradition of Tang Dynasty, represented by Wu Daozi and Wang Wei. Hence they influence the latter painting style drastically. Mi Fu has mentioned about the concept of“paintings of South of the River”for many times in his work History of Painting. This thesis aims to explore the cause to form the paintings of South of the River in North Tang Dynasty and its significance in inheriting the tradition of Tang Dynasty and opening the style of Song Dynasty.Four parts are divided and the details are exposed as follows:Chapter One: the ideology of South Tang Dynasty and the background to form the“Painting of the South River”.The first part generalizes the historical events that Li Sheng’s establishment of the South Tang Dynasty, and his identity as the descendent of Tang Dynasty, inheriting Tang Dynasty’s system and collecting widely the books of the previous dynasties. Both the next empires Li Jing and Li Yu had a high taste in aesthetics, leading to a prosperity in painting and literature.The second part further offers a generalization about the geographical features of South Tang Dynasty, trying to get a comprehension towards the true works of the landscape paintings in the South Tang Dynasty and list the scenic spots in South Tang Dynasty areas.The 3rd part illustrates the long painting history since the Six Dynasties in the Wu Area, especially the creative spirit to practice earliest and most perfectly the“Six Principles”in figure paintings.Chapter Two: The“Paintings of South River”during the South Tang Dynasty originated the consciousness as the literati to paint. The 1st part generalizes the cultural environment of the South Tang Dynasty, thus leading to the conclusion that the“Paintings of South River”during the South Tang Dynasty originated the consciousness as the literati to paint. It may reveal itself in the literature characters in the purposes and the forms, especially during the Li Yu period, when the blend of poetry and painting got its momentum.The 2nd part sets Wei Xian as an example to illustrate that under the cultural environment of the South Tang Dynasty and the impact of Li Yu,“Jie painting”made a great breakthrough, and it made Wei’s paintings as the highest level in Chinese cottage and tree painting.Chapter Three: The painting aesthetics of“peace and innocence”established by the“Paintings of South of River”.The 1st part generalizes Dong Yuan’s position change in the articles by Song people, through which we can find that Mi Fu plays an important influence to Dong’s rediscovery. The second part generalizes the“South School & North School”theory by painters in Ming and Qing Dynasty. As a result, we can see how Dong Yuan is elected as the creator of the South school, and the characteristics owned by“Paintings of South River”The third part discusses that Dong Yuan inherited the way to paint in the Tang Dynasty by Zhang Zao and Wang Wei, especially in his painting Waiting for Boat around the Mountain in Summer. Dong’s way to paint the stones was transferred from his imagination of the way to paint the water, linking internally to Gu Kaizi.The forth part compares Dong’s painting Bank of the Stream with Ju Ran’s Resting in the Mountains. From the similarities, we then talk about the question that how Dong described the real mountains.The fifth part tries to learn clearly that to what extent that Ju Ran inherited Dong’s spirit and techniques of painting, as well as Ju’s breakthrough. Dong and Ju’s influence in the history of painting relies mostly on Ju’s“Smog Landscape”.Chapter Four: South Tang’s“Paintings of South River”established the character of painting and calligraphy that centred with stokes and ink.The first part talks about the importance held by the public towards the calligraphy in South Tang Dynasty. Li Yu was excellent in poetry, painting and calligraphy, leading the style of South Tang Dynasty. Besides, the great value of the tools to paint is also included so as to speak together with the previous two facets the centre of Li Yu, who set up the characters of the strokes and ink in“Painting of South River”. This character emphasizes a lot on“elegance, mild, graceful, peaceful”, and the blend with calligraphy. Especially to Tang Xiya and Zhou Wenju, Li Yu influenced greatly.The 2nd part generalizes the life of Xu Xi, who was the descendent of the empire of South Tang.The 3rd part generalizes the style of Xu Xi. By analyzing his“ink flowers”, Xu’s paintings focus more on strokes and ink compared to Huang Quan, and own his special taste.The 4th part analyzes the statements towards strokes and ink by painters from each period. Thus we can confirm again that during the Five Periods, the taste of strokes and ink is stimulated and the painters of this time made a great contribution to the completion of landscape painting.更多还原