简论“四王”的艺术史地位——兼赏王时敏《夏山飞瀑图》

• 作 者: 郑奇
• 出 处: 老年教育(书画艺术)
• 发表日期: 2014年10期
• 关键词: 四王 王时敏 夏山飞瀑图 开宗立派 美术史家 中国绘画 集古 石涛 中国画技法 董欣宾

(一)历史时空中充满空白,谁能占据其中一点,便取得他的历史地位。清初“四王”所占据的空白点是:集古人古法之大成而自成风貌,影响数代,推进中国绘画本体的自律。近现代美术史家,往往过于看中主张创新而开宗立派的大师,这是对的。但如果因此而忽视甚至贬低集古之大成者,便失之偏颇了。故而,“四王”的地位在近现代的下降,是一个值得重新审视的艺术史课题。

(A) The historical space is full of blank, who can occupy one of the points, they achieved his historical status. At the beginning of the Qing Dynasty, the blank space occupied by the Four Kings was the self-discipline of the ancients’ ancient method, which influenced generations and promoted the self-discipline of Chinese painting. It is correct that modern art historians are often too fanciful in advocating innovation and opening up to the opposition. However, if we neglect or even belittle the ancient masters, we will lose our way. Therefore, the decline of the status of the “Four Kings” in the modern era is a topic of art history that is worth re-examining.