气关笔力 韵由墨彩——黄宾虹对“六法”之独见  

Huang Binhong's Original View on "Six Ways"

作　　者：吴坚旭[1] 

机构地区：[1]深圳大学艺术与设计学院,广东深圳518060

出　　处：《深圳大学学报（人文社会科学版）》2005年第2期125-128,共4页Journal of Shenzhen University：Humanities & Social Sciences

摘　　要：谢赫提出“六法”以来,“六法”逐步发展为中国画的核心理论,尤其“气韵生动”更是被奉为圭臬,自宋郭若虚在《图画见闻志》的《论气韵非师》篇中强调了“气韵”是人的先天性气质,是不可学的以后,把谢赫具有内在联系的“六法”机械地割裂为两个部分,让后学迷茫,黄宾虹以其毕生的实践和卓越的见识,发展了董其昌通过后天性修养的方式,也即“读万卷书,行万里路”获得“气韵”的观点,指出了“笔力”的强弱是决定“气韵生动”的关键。Since Xie He came up with 'Six Ways' more than 1400 years ago, 'Six Ways' has evolved into the core theory of Chinese painting, among which 'lifelike spirit' is particularly held up as the ultimate standard. But Guo Ruoxu, a Song scholar, held that 'Lifelike spirit' is an inherent quality that can never be acquired by learning. His view has confused many. It is Huang Binhong who has clarified the confusion by arguing convincingly that 'lifelike spirit' can be acquired by learning.

关 键 词：黄宾虹 六法 气韵生动 笔力 

分 类 号：J21[艺术—美术]