成法与气韵:从董其昌到王原祁、石涛——一条切入中国后期绘画传统的内在线索  

The Classic Regulation and Rhythm:From Dong QiChang to Wang Yuanqi and Shi tao——Inherent Clues of Later Stage of Chinese Painting Tradition

作　　者：刘泰然[1] 陈雪[1] 

机构地区：[1]吉首大学文学院,湖南吉首416000

出　　处：《艺术探索》2011年第3期19-23,143,共5页Arts Exploration

基　　金：2010年度国家社会科学基金项目"中国古代视觉意识研究"(10CZX050)

摘　　要：董其昌通过绘画史系谱的清理,使得对古法的遵循与对气韵的领悟达到内在统一。在他那里,绘画一方面成了一系列古人既有形式语汇的重新处理过程,又是一个"不合而合"、气韵天成的自然运作过程。王原祁与石涛对董其昌身上两个方面各有侧重,一重法式规则,一重自然率性,但都对"习气"提出批评,表明一种危机意识,同时以其绘画理论与实践从不同方向对这种危机作出回应。Dong Qichang made the classic regulation and rhythm achieve the inherent unification through analyzing the genealogy of the painting history.According to his understanding,he believes painting is not only a reprocessing procedure of formal vocabulary of the ancient people,but also a natural process of nature.And later Wang Yuanqi and Shi tao emphasized on the classic regulation and rhythm respectively.On the one hand,they emphasized on the characteristics of theory.On the other hand,they emphasized on the characteristics of nature.But they both criticized the 'habits' in the painting which indicated a sense of crisis about painting.Meanwhile,they responded the crisis from different directions by the theory and practice of painting.

关 键 词：成法 气韵 董其昌 王原祁 石涛 

分 类 号：J209.2[艺术—美术]