同济大学 中西艺术比较课程-文人画家的态度(中)课件

1、文人画的独特性(1):文人画家的艺术态度Uniqueness of Literati-painting(1): Artistic Attitude of Literati-painter胡 炜 博士、副教授Asso. Prof. Hu Wei04.12.2015 “五色令人目盲，五音令人耳聋，五味令人口爽，驰骋畋猎令人心发狂，难得之货令人行妨。是以圣人，为腹不为目，故去彼取此。” 老子（活动于前571前471）老子.第十二章“The five colors cause a persons eyes to go blind.(目盲)The five tones cause a persons e

2、ars to go deaf（耳聋）,The five flavors cause a persons palate to be spoiled（口爽）.Racing and hunting cause a persons mind to run wild（发狂）.Goods that are hard to come by impede a persons actions.This is why the sage concerns himself with belly, not the eye.And why he rejects the one and chooses the other.

3、” -Laozi （active between571BCE-471BCE）“Daode Jing” 昔宋元君将画图，众史皆至，受揖而立，砥笔和墨，在外者半，有一史后至，儃儃然不趋，受揖不立，因之舍，公使人视之，则解衣盘礴，蠃。君曰：可矣，是真画者也。 庄子 田子方（前3世纪） 屈原（前3世纪）至於江滨，被髪行吟泽畔。颜色憔悴， “举世浑浊而我独清，众人皆醉而我独醒。”渔夫曰：“夫圣人者，不凝滞于物而能与世推移。举世混浊，何不随其流而扬其波？众人皆醉，何不哺其糟而啜其醴？何故怀瑾握瑜而自令见放为？” 司马迁史记屈原贾生列传 Classification in Grades by Qualiti

4、esZhu Jinxuan(c.840)“Tang-chao Ming-hua Lu”Besideshe the Inspired Class, the Excellent Class, the Competent Class. Add Untrammeled Class as a new classWang Mo, Li Linsheng, Zhang ZhiheHuang Xiufu（c.1006） “Yi-Zhou Ming-hua Lu”Put the Untrammeled Class at the first placeSun Wei“非画之本法”与人格之高逸相关联王墨：善泼墨画山

5、水、多游江湖间、性多疏野,好酒,凡欲图画幛，先饮，醺酣后，即以墨泼，或笑或吟，脚蹙手捉.李灵省：落托不拘检，常爱画山水。每图一幛，非其所欲，不即强为也。不拘于品格，自得其趣尔。张志和：号曰烟波子，常渔钓于洞庭湖 ，随句赋像，人物、舟船、鸟兽、烟波、风月，皆依其文，曲尽其妙。孙位：性情疏野，襟抱超然，禅僧道士常与往还，高贵相请，礼有少慢，纵赠千金，难留一笔松石墨竹，笔墨精妙. “He (Li Lingsheng, 9th century)was undisciplined and never abided by the usual standards of excellence, but alw

6、ays loved landscape. Whenever he was painting on a screen. And it was not what he would have wished, he never forced himself to continue, for only in wine were his ideas born. He was proudly independent and did not recognize the prerogatives of princes and lords. When he painted a landscape, bamboo,

7、 or tree, he would achieve its image with a dot and a stroke. The appearances of his objects issue entirely from nature.His work falls under no system of classification but achieves a flavor of its own. ”- Zhu Jingxuan(9th century) “Tangchao Minghua Lu” (Record of Famous Painters of the Tang dynasty

8、)对主体精神在艺术中的价值强调“吴生虽妙绝，犹以画工论；摩诘得之于象外，有如仙翮谢笼樊” （苏轼东坡集卷一凤翔八观王维吴道子画）“世之工人，或能曲尽其形，而至于其理，非高人逸才不能辨” （苏轼东坡集卷三十一净因院画记）“人品既已高矣，气韵不得不高，气韵既已高矣，生动不得不至，” （郭若虚论气韵非师）诗画一律以及苏轼的绘画理论“论画以形似，见与儿童邻；诗画本一律，天工与清新;”（书鄢陵王主簿所画折枝二首）“观士人画如阅天下马，取其意气所到。乃若画工，往往只取鞭策皮毛。糟枥刍秣，无一点俊发，看数尺许便倦。”（跋汉杰画山）“味摩诘之诗，诗中有画；观摩诘之画，画中有诗。”（书摩诘蓝田烟雨图）Su Sh

9、i(1037-1101) , “A Dead Tree and a Grotesque Rock ”, rice paper, ink and wash米芾 (1051-1107), “珊瑚笔架图”, 26.6x47.1cm，纸本，北宋，北京故宫博物院藏 “我朝善画者甚多，若行家当以戴文进为第一，而吴小仙、杜古狂、周东村其次也。利家则以沈石田为第一，而唐六如、文衡山、陈白阳其次也。戴文进画尊老用铁线描，间亦用兰叶描。其人物描法，则蚕头鼠尾，行笔有顿跌，盖用兰叶描而稍变其法者，自是绝伎。其开相亦妙，远出南宋已后诸人之上。山水师马、夏者亦称合作。乃院体中第一手。” （何良俊（15061573）四友

10、斋画论）Different Artistic Styles of Xu and HuangHuang Quan（903965）“Precious Birds by Painting from Nature”, color on silk, Palace Museum ,Beijing Zhang Xuan(713-755) detail of “Making silk by the court ladies”张萱(唐)捣练图局部Li Gonglin(1049-1106) “Five Horses” detail，ink on paperCui Bai(active in 1056-1085)

11、“Winter Sparrows”, Palace Museum崔白（活动于10561085）寒雀图卷，故宫博物院 崔白(1004-1088) “寒雀图卷 ” 局部，绢本，北京故宫博物院藏Zhao,Ji (Song emperor Huizong,1082-1135), “Golden Pheasant and Cotton Rose Flowers”, National Palace Museum, TaipeiLi Di （12th-13th century） “Red Hibiscus Flower”李迪（南宋）红芙蓉The Naturalism in 11th-13th century

12、 Related with Moral Cultivation Four steps of moral cultivation:1.to rectify the heart(正心)2.to make the intentions sincere(诚意)3.to investigate things(格物)4.to extend knowledge(致知)赵孟頫主要艺术理论（古意论）作画贵有古意,若无古意,虽工无益。今人但知用笔纤细，傅色浓艳，便自谓能手，殊不知古意既亏，百病横生，岂可观也？吾所作画，似乎简率，然识者知其近古，故以为佳。此可为知者道，不为不知者说也。（书画同笔）石如飞白木如籀，写

13、竹还应八法通。若也有人能会此，方知书画本来同。 “It is very important to cherish the spirit of antiquity in painting. When there is no the spirit of antiquity in painting, it would not be good， no matter how delicately it has been painted. The painters nowadays are only know how to use brush in a delicate way and to paint

14、color brightly. Then they regard themselves as good painter. They hardly know that all kinds of defects would appear in their works when the spirit of antiquity is lost. How can such works be appreciated!” -Zhao Mengfu(1254-1322) -The postscript was collected by Zhang Chou (1577-1643), “Qinghe Shuhu

15、a Fang”, 1616 “To depict stone as if use the flying white and to express trunk and branch as if write in Zhuan style calligraphy (zhou); to paint bamboo should be familiar with the technique of standard script (Bafa). When someone also notices that, he must know that painting and calligraphy originally are the same.” -Zhao Mengfu(1254-1322)Flying white is a technique which the hairs of the brush are permitted to separate, so that a stroke is not solid black and broken by streaks which untouched ground.Zhuan: a style