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苏轼是十一世纪下半叶著名的文学家,艺术家,他诗文、书画无所不精。在绘画方面,他既创作了大量优秀的作品,同时,又是一个伟大的理论家.他的文人画论在我国古代绘画理论发展史上占有突出的地位,影响十分深远。 文人画,亦称士夫画,文士画,士人画,是北宋中期兴起的一个新的画派,主要成员有文同、苏轼、米芾等人。文人画是与院体面、工匠面对立的。当时的院体面、工匠画流于追求形似,注重工笔描绘,风格繁富艳丽,宣扬“重人伦、成教化”的绘画功能。苏轼对此深为不满,于是大力提倡文人画,形成一整套系统的绘画理论,成为文人画的号角。 一、功能论 苏轼倡导的绘画功能在于自适其意。 苏轼认为,绘画的目的只能是自适其意,而不是为了追求直接的功利目的。他在《书朱象先画后》一文中说: 能文而不求举,善画而不求售,文以达吾心,画以适吾意而已。以其不求售也,故得之自然。 这就突破了儒家教化思想的束缚,摆脱了绘画的功利性。苏轼的看法虽仍显片面,但其中进步的成分还是主要的。因为创作不为求名,不为求利,而仅仅为了表现自我,为了自适其意,这就使作画者精神放松,对画能够全神贯注.这样画出来的画才不会失之做作,失之雕饰。只有为自适而作画,才会使
Su Shi is a well-known writer and artist in the second half of the eleventh century. His poetry and calligraphy are nothing short of refined. In terms of painting, he not only created a large number of outstanding works, but at the same time he is also a great theorist whose literary theory occupies a prominent position in the history of the development of ancient Chinese painting theory and has far-reaching impact. Literati painting, also known as Shi Tu, painting scholar painting, scholars paintings, is a new school rising in the middle of the Northern Song Dynasty, the main members of the same text, Su Shi, Mi Fu and others. Literati painting is the face of the courtyard, artisans face to face. At that time, the artisans drew their attention on the pursuit of the shape, the emphasis on the fine brushwork, the rich and colorful style, and the promotion of the painting function of “focusing on human relations and becoming enlightened”. Su Shi is deeply dissatisfied with this, so vigorously advocate literati painting, forming a set of systematic painting theory, become the horn of literati painting. First, the functional theory Su Shi advocated the painting function is self-interested. Su Shi believes that the purpose of painting can only be self-interested, not for the pursuit of direct utilitarian purposes. He said in a book entitled “After the Book Zhu Xiang was Painted First”, he said: “No text can be asked, no good words but no sale.” Its not for sale also, so it is natural. This broke through the shackles of Confucian enlightenment and removed the utilitarian nature of painting. Although the view of Su Shi is still apparent, the progress of the composition is still the main one. Because creation is not for name, not for profit, but only for the performance of self, in order to self-interest, which allows the artist to relax the spirit of the painting can be absorbed in. Such paintings will not be lost painting, lost carving. Only for ease and painting, will make