北宋郭熙《早春图》的空间构建研究
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摘要
空间构建是画家从内容到形式表现的主要阶段,也是画家与画面空间情感交流的过程。西方传统绘画的空间是把固定视点和特定空间结构的真实反映作为其特点,而中国画的空间是重"卧游"、"步步移,面面观"、"三远",要求通过静穆观想、与万物同在,共同进入自由之境。在郭熙《早春图》中,咫尺千里、意趣横生,山川峰峦、行云流水、松木琼林、亭台楼阁以及人物建构融合在一个画面空间中。近处的山石纹理清晰,中间的村落富有生活意味,远处高山四周烟雾缭绕。画面中建筑物的空间构建引导着观者视线,从近处向远处延伸,层层递进推远,远近距离感表现极佳。
Spatial construction is the main stage of the painter's performance from content to form, and also the process of emotional communication between the painter and the picture. The space of traditional western painting is characterized by the true reflection of fixed viewpoints and specific spatial structures, while the space of Chinese paintings refers to "WoYou"(appreciate landscape paintings in place of sightseeing), "BuBuYi and MianMianGuan"(step-by-step sightseeing with multiple viewpoints) and "San Yuan"(three farnesses), requiring static observation and being together with everything, so as to enter the realm of freedom. In Guo Xi's "Early Spring", the scenery is close but is like a thousand miles away, full of interest and charm. Mountains and peaks, drifting clouds and flowing water, pine woods, pavilions, terraces and towers as well as figures construction are integrated in a picture space. The nearby rock texture is clear, village in the middle is rich in life, and clouds and mists are lingering in the distant mountains. The space construction of the building in the picture guides the viewer's line of sight, extending from the near to the far, with multiple layers gradually progressing, which produces an excellent sense of distance.
Spatial construction is the main stage of the painter's performance from content to form, and also the process of emotional communication between the painter and the picture. The space of traditional western painting is characterized by the true reflection of fixed viewpoints and specific spatial structures, while the space of Chinese paintings refers to "WoYou"(appreciate landscape paintings in place of sightseeing), "BuBuYi and MianMianGuan"(step-by-step sightseeing with multiple viewpoints) and "San Yuan"(three farnesses), requiring static observation and being together with everything, so as to enter the realm of freedom. In Guo Xi's "Early Spring", the scenery is close but is like a thousand miles away, full of interest and charm. Mountains and peaks, drifting clouds and flowing water, pine woods, pavilions, terraces and towers as well as figures construction are integrated in a picture space. The nearby rock texture is clear, village in the middle is rich in life, and clouds and mists are lingering in the distant mountains. The space construction of the building in the picture guides the viewer's line of sight, extending from the near to the far, with multiple layers gradually progressing, which produces an excellent sense of distance.
引文
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[3]彭定求.全唐诗[M].北京:中华书局,1960.
[4]沈约.宋书[M].北京:中华书局,1974.
[5]于安澜.画史丛书:第一册[M].上海:上海人民美术出版社,1963.
[6][美]高居翰.中国绘画史[M].李渝,译.台北:雄狮图书股份有限公司,1985.
[7]郭熙.林泉高致[M].南京:江苏凤凰文艺出版社,2015.
[8]陶渊明.陶渊明集[M].北京:中华书局,1979.
[9]孔子.周易·系辞[M].郑州:中州古籍出版社,2007.
[10][美]鲁道夫·阿恩海姆.艺术与视知觉[M].滕守尧,朱疆源,译.成都:四川人民出版社,2005.
[11]潘运告.汉魏六朝书画论[M].长沙:湖南美术出版社,1997.
[12]陈传席.六朝画论研究[M].天津:天津人民美术出版社,2006.
[13]沈子丞.历代论画名著汇编[M].北京:文物出版社,1982.
[14][英]贡布里希.艺术与错觉[M].林夕,李本正,范景中,译.长沙:湖南科学技术出版社,2002.
[15]宗白华.美学散步[M].上海:上海人民出版社,2001.