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石涛在《画语录·笔墨章第五》中有这么一段话: 墨非蒙养不灵,笔非生活不神。能受蒙养之灵而不解生活之神,是有墨无笔也:能受生活之神而不变蒙养之灵,是有笔无墨也。这是石涛关于画家笔墨的中心论题。除石涛以外,历代画家和画论家有关笔墨的论述也有很多,兹举二例: 作画第一论笔墨。古人云:“干湿互用,粗细折中,笔之谓也。”用笔有工处,有乱头粗服处,至正锋侧锋,各有家数。……用墨之法,忽干忽湿,忽浓忽淡,有特然一下处,有渐渐渍成处,有澹荡虚无处,有沉浸浓郁处,兼此五者,自然能具五色矣。(清·王学浩《山南论画》)。 但有轮廓而无皱法,即谓之无笔;有皱法而不分轻重、向背、明暗,即谓之无墨。(明·董其昌《画旨》)对比之下,很显然,石涛在这里所论的笔墨与其他两家是完全不同的两回事。王学浩是就用笔用墨的技法变化而论,董其昌则是就山石的形象表现方面而言,而石涛在这里却把笔墨与“蒙养之灵”和“生活之神。联系了起来。因此,要把握石涛笔墨论的精神,就必须先弄清他的“蒙养”与“生活”的真实涵义。本文即拟在此基础上,再进一步谈谈“蒙养”、“生活”、笔、墨之间的相互关系,以及“蒙养”与“生活具体于艺术家及其在石涛“一画”中的体现。
Shi Tao in “Quotations Chapter fifth ink” there is such a passage: Mexico and Africa are not blind, pen non-life is not God. Being able to receive the spirit of being baptized and ignoring the god of life means there is no ink in the pen: This is Shi Tao’s centerpiece on the artist’s brush and ink. Except Shi Tao, there are also many expositions of ink painters and painters in ancient times. I give two examples: painting first theory. The ancients said: “wet and dry interoperability, the thickness of the compromise, the pen that is also.” The pen has a work place, there are chaotic rough clothes, to Zheng-feng side front, each have their own home. ... ... with the law of ink, Suddenly suddenly wet, sudden thick suddenly, there are specialties at the Department, there are gradually stain into office, there is no place to go, there is a strong place, and these five, nature can be colored . (Qing Wang Xuehao “Shannan painting”). However, there is no outline of wrinkle method, which means that the pen has no wrinkle; irrespective of severity, to the back, light and shade, that is, no ink. (Ming Dong Qichang’s “Painting Purposes”) In contrast, it is clear that the words and phrases discussed by Shi Tao here are totally different from the other two. Wang Xuehao is about the change of technique of using pen and ink. Dong Qichang refers to the expression of the image of rock and stone, and Shi Tao here links the pen and ink with the spirit of “the god of blessings” and “the god of life.” Therefore, To grasp the spirit of Shi Tao’s theory of ink and brush, we must first understand the true meaning of his “enlightenment” and “life.” This article intends to further talk about the concepts of “enlightenment”, “life” , The interrelationship between the inks, as well as the embodiment of “enlightenment” and “life specific to artists and their paintings in Shi Tao”.