正统之路:渐江与董其昌语境中的师古与师造化
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摘要
渐江在明亡之前主要师法古人,自武夷归歙以后,巧妙地将倪瓒的皴法与黄山一带的实景风貌相结合,从而形成其独有的画面面貌。因为时代的契机,渐江的绘事经历无意中在某种程度上契合了董其昌的一些论述,由此渐江似乎走上了一条师古人而后师造化的"绝近画中山"的"正统"之路。
Since returning back to She county from Wuyi,Jian Jiang ingeniously combined Ni Zan's method of cun with the real scenery of Huangshan area,thus forming a unique painting appearance.However,before the end of the Ming Dynasty,he mainly learned from the ancient painting masters.Because of the opportunity of the time,the painting experience of Jian Jiang unintentionally conformed to some of Dong Qichang's expositions to a certain extent.Thus,it seemed that Jian Jiang embarked on a path of learning from the ancient masters and then learning from the nature,so that on the road of "orthodoxy" that is "close to the mountain in the painting".
Since returning back to She county from Wuyi,Jian Jiang ingeniously combined Ni Zan's method of cun with the real scenery of Huangshan area,thus forming a unique painting appearance.However,before the end of the Ming Dynasty,he mainly learned from the ancient painting masters.Because of the opportunity of the time,the painting experience of Jian Jiang unintentionally conformed to some of Dong Qichang's expositions to a certain extent.Thus,it seemed that Jian Jiang embarked on a path of learning from the ancient masters and then learning from the nature,so that on the road of "orthodoxy" that is "close to the mountain in the painting".
引文
[1]闵麟嗣.弘仁传[G]//汪世清、汪聪.渐江资料集.合肥:安徽人民出版社,1984:11.
[2]董其昌.画旨[M].毛建波,校注.杭州:西泠印社出版社,2008:119.
[3]莫是龙.画说[G]//卢辅圣,主编.中国书画全书(第五册).上海:上海书画出版社,2009:124.
[4]董其昌.画禅室随笔[G]//卢辅圣,主编.中国书画全书(第五册).上海:上海书画出版社,2009:141.
[5]王泰徵.渐江和尚传[G]//汪世清、汪聪.渐江资料集.合肥:安徽人民出版社,1984:3.
[6]黄宾虹.渐江大师事迹佚闻·画迹附目[G]//汪世清、汪聪.渐江资料集.合肥:安徽人民出版社,1984:221.
[7]顾凝远.画引[M].济南:山东画报出版社,2017.
[8]程孟.黄山图经跋[G]//闵麟嗣,编.黄山志定本.安徽丛书编印本,1935.
[9](宋)佚名.黄山图经[M].北京:国家图书馆出版社,2013:281.
[10]黄山志编纂委员会.黄山志[M].合肥:黄山书社,1988:8.
[11]柳雪.明清时期黄山佛教地理研究[D].安徽大学硕士论文,2018:11.
[12]弘眉.黄山志[G]//汪世清、汪聪.渐江资料集.合肥:安徽人民出版社,1984:181.
[13]王石城.萧云从[M].上海:上海美术出版社,1979.
[14]渐江.画偈[G]//汪世清、汪聪.渐江资料集.合肥:安徽人民出版社,1984:37.
[15]渐江.偈外诗[G]//汪世清、汪聪.渐江资料集.合肥:安徽人民出版社,1984:39.
[16]王洪伟,刘军强.董其昌与《富春山居图》“子明卷”之关系新议[J].中国美术研究,2019(1):92.
[17]吕少卿.承传与演进——渐江与倪瓒山水画风比较研究[D].南京艺术学院博士论文,2005:166.
[18]吕少卿、童兴强.弗与世同:时代突变下渐江的清寂画风[J].美术学报,2018(6):56.
[2]董其昌.画旨[M].毛建波,校注.杭州:西泠印社出版社,2008:119.
[3]莫是龙.画说[G]//卢辅圣,主编.中国书画全书(第五册).上海:上海书画出版社,2009:124.
[4]董其昌.画禅室随笔[G]//卢辅圣,主编.中国书画全书(第五册).上海:上海书画出版社,2009:141.
[5]王泰徵.渐江和尚传[G]//汪世清、汪聪.渐江资料集.合肥:安徽人民出版社,1984:3.
[6]黄宾虹.渐江大师事迹佚闻·画迹附目[G]//汪世清、汪聪.渐江资料集.合肥:安徽人民出版社,1984:221.
[7]顾凝远.画引[M].济南:山东画报出版社,2017.
[8]程孟.黄山图经跋[G]//闵麟嗣,编.黄山志定本.安徽丛书编印本,1935.
[9](宋)佚名.黄山图经[M].北京:国家图书馆出版社,2013:281.
[10]黄山志编纂委员会.黄山志[M].合肥:黄山书社,1988:8.
[11]柳雪.明清时期黄山佛教地理研究[D].安徽大学硕士论文,2018:11.
[12]弘眉.黄山志[G]//汪世清、汪聪.渐江资料集.合肥:安徽人民出版社,1984:181.
[13]王石城.萧云从[M].上海:上海美术出版社,1979.
[14]渐江.画偈[G]//汪世清、汪聪.渐江资料集.合肥:安徽人民出版社,1984:37.
[15]渐江.偈外诗[G]//汪世清、汪聪.渐江资料集.合肥:安徽人民出版社,1984:39.
[16]王洪伟,刘军强.董其昌与《富春山居图》“子明卷”之关系新议[J].中国美术研究,2019(1):92.
[17]吕少卿.承传与演进——渐江与倪瓒山水画风比较研究[D].南京艺术学院博士论文,2005:166.
[18]吕少卿、童兴强.弗与世同:时代突变下渐江的清寂画风[J].美术学报,2018(6):56.