水墨山水画成型于五代考

发布时间：2018-02-23 17:33

本文关键词： 水墨五代意象山水画　出处：《中国国家博物馆馆刊》2017年07期 　论文类型：期刊论文

【摘要】：据可靠史料,唐代画家已经在诗歌意象的启发下意识到了"绘画意象"问题,并继而引发了画家于创作实践中对绘画技法语言的"写意"性尝试。这种早期的"写意画",表现为试图在水墨语言层面上不断契合"意"与"象"的努力。晚唐孙位《高逸图》的某些山石描绘即是标识唐代绘画观念过渡的一个典型案例。晚唐五代之交的荆浩与稍后的董源等画家则进一步将这种意、象合一的探索导向深入,并在创作实践上使其更具规模,其影响贯穿五代及北宋。这一时期水墨画发展最为重要的事件就是画家自觉地立足于"心源"角度对物象进行裁汰和概括,从而成功地打通了"心"、"象"一体的水墨画内在理路,并将其诉诸一系列的笔墨符号语言。可以说,到了五代时期,中国水墨画的笔墨形式与内在心象已经高度契合,为后世水墨画史的风格流变与观念变迁确立了基调。
[Abstract]:According to reliable historical data, the Tang Dynasty painters have been inspired by the poetic imagery to realize the problem of "painting image". This kind of early "freehand brushwork" was shown by the attempt to match the meaning and the image in the language of ink and water continuously in the late Tang Dynasty, and then triggered the painters' attempt of "freehand brushwork" in the creative practice. Some of Sun Wei's depictions of mountains and stones are a typical example of the transition of painting concepts in the Tang Dynasty. The painters Jing Hao, who was at the turn of the late Tang and five dynasties, and Dong Yuan, later on, took this idea further. The exploration of the unity of the image leads to deeper exploration, and makes it more large-scale in the practice of creation. Its influence ran through the five dynasties and the Northern Song Dynasty. The most important event of the development of ink painting in this period was that the painter consciously based himself on the angle of "heart source" to cut out and summarize the images. In this way, the internal principles of "heart" and "image" were successfully established, and they were appealed to a series of ink and stroke symbol languages. It can be said that by the five dynasties, the ink and stroke forms of Chinese ink and ink painting had been highly compatible with the inner mental image. It sets the tone for the change of style and concept in the history of Chinese ink painting.
【作者单位】：中国人民大学哲学院;
【分类号】：J212

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