勒石与勾描—唐代石椁人物线刻的绘画风格学研究

【作者】 李杰；

【导师】 程征；

【作者基本信息】 西安美术学院 ， 美术学， 2011， 博士

【摘要】 在中国绘画史的发展历程中,唐代人物画曾经书写了辉煌的篇章。可是,我们今天籍以了解唐代人物画真实面貌的传世作品不仅很少,而且几乎都有存疑,寺观壁画仅见于文献,遗存的洞窟壁画大多缺少明确的纪年。所幸,随着中国考古学的发展,唐代墓葬中反映人物画风貌的实物纷纷出土,以相当充足的数量和断代的明确性,在一定程度上弥补了研究材料的不足。其中,石椁人物线刻就是我们间接了解唐代人物画的一种有力的参照对象。唐代石椁墓的墓主,绝大多数是京畿地区正二品以上的高官或皇族成员,创作者则是拥有较高官阶的画家、皇家画师和甄官署刻工,因此,石椁人物线刻集中体现了这一时期统治阶层的审美取向,从而为我们今天清晰地认知唐代人物画的时代风格及其形态流变提供了可靠的佐证。从20世纪中期开始,通过系统发掘与整理,现已发现唐代石椁墓29座,分属于初唐至盛唐的117年之间,其中刻有人物线刻的石椁19具,本文从中采集到275个线刻人物形象,为进行唐代绘画风格学研究提供了可靠的前提条件。唐代石椁人物线刻是以“白画”为样本,顺应石材特性,以刀代笔,以刻石代勾描而呈现的特有艺术样式。从其早期、中期和后期的作品中,可以清晰地看出“以刀代笔”的技法与风格发展过程。唐代石椁人物线刻的类型化、程式化造型是各相关造型元素条理化、规则化的结果,既是与唐代社会等级秩序相对应的普识性平面造型分类形式,也是异族造型艺术与本土造型观念融合而成的结果。唐代石椁人物线刻以“游观”的方式处理空间关系,以平面分层纵列的方式来获得视觉深度感。它的形式风格则主要体现在线群的组织关系上,主要可归纳为“结构性线群”与“装饰性线群”两大类。两者之形成、融合与发展,既包含对汉晋线描方式的承继,也包含对佛教绘画的吸收,历经初唐-武周-开元-天宝等时期的演进,导致了人物表现风格的相应变化。画家将结构性线群与装饰性线群重新进行穿插、融合,重构了画面的表现形式,开创了中国古代人物画的新纪元。唐代石椁人物线刻的线型与唐代人物画的线型具有同一性,整体表现为匀速平行的“铁线描”形态。其中早期的线型较为粗壮、凝重,后期则显得细劲而流畅。在此演进过程中,只有薛儆墓石椁人物线刻呈现为粗细有所变化的线型,打破了中锋用笔的平行线型规范,成为平行线型向提按线型转变的节点。唐代石椁人物线刻具有鲜明的时代风格特征,是唐代文化观念、社会秩序、审美取向及技法条件所造就的特定产物和形象再现。更多还原

【Abstract】 In the history of traditional Chinese painting, figure paintings of Tang dynasty once flourished at royal court, standing as an impressive footprint in the Chinese art history. However, few works in this field remained after generations, and those who survived still posed certain unsettled questions to researchers, which made it hard for us to appreciate the original features of figure paintings. For example, mural paintings of Tang dynasty in temples can only be seen in literatures and those discovered in caves lack of definite recorded year of creations. Fortunately, the development of Chinese archeology boosted the excavation of figure paintings like mural paintings and line cutting figures from tombs of Tang dynasty, which provided adequate materials with clear timelines for researches. Among them, line cutting figures on stone coffins act as a bridge for us to savor figure paintings of Tang dynasty.Most owners of the stone coffins in Tang dynasty were senior officials in the capital and its environs or members of the royal family. The works were mostly created by high-ranking official artists, painters for the royal family as well as workers in the Pottery Office. As a result, the line cutting figure works on stone coffins centrally reflected the aesthetic value of the dominating class in this period and offered some reliable materials for researchers to cognize the style and forms as well as changes of figure paintings of Tang dynasty.Since the mid- 20th century, 29 stone tombs which were built in early Tang dynasty as well as in the 117 years of the climax of Tang dynasty have been discovered, among which 19 were line cutting figure works. The author of this paper selects 275 line cutting figures and deems it trustworthy materials for the study on the printing style of Tang dynasty.Since the middle of 20th century, 29 stone tombs which were built in early Tang dynasty and in the 117 years of the climax of Tang dynasty have been discovered, among which 19 were line cutting figure works. The author of this paper selects 275 line cutting figures and deems it a trustworthy requisite for a study on the printing style of Tang dynasty. The line cutting style in Tang dynasty is a unique style which imitated the painting method of line drawing (Bai Hua) and used knife to carve figures on stones. The line cutting figures in different periods revealed the development of this technique.Typological art works resulted from the systematic and regular elements adopted in the line cutting figures, which is in line with the stratified class of Tang dynasty and also a combination of exotic plastic arts and folk painting values.Line cutting figures on stone coffins depict various figures in a space and strengthen the illusion of depth through layers of lines. The styles and forms are mainly reflected in the organization of line clusters including structural line cluster and decorative line cluster. The formation, combination and development of these two clusters inherited line styles of Han and Jin dynasty and also absorbed the style of Buddhist paintings. It evolved through early Tang, Tang dynasty Wuzhou era, Kaiyuan era and Tianbao era, resulting in the corresponding changes in figure styles. The artists rearranged the two clusters to depict a different portrayal of the paintings, writing a new chapter for ancient Chinese figure paintings.The line styles of the line cutting figures on coffins, drawn like iron wires are in line with figure paintings. Its line style in Tang dynasty developed from thick, rough brushstrokes to thin and fluent ones. In this evolution, the line style of line cutting figures on Xuejing’s coffin is the only one which has changed in the thickness of the lines, overturning the vertical painting method and unveiling the painting method of tilting.The line cutting figures on stone coffins of Tang dynasty have distinctive features of this period. It is a fruit nourished by its cultural values, social orders, aesthetic values and techniques.更多还原