从摹古到创新:四王、四僧与清初山水画的两个面相  

From Imitation to Innovation:The Four Wangs,the Four Monks,and Two Features of Early-Qing Landscape Painting

作　　者：蔡芝竖 Cai Zhishu

机构地区：[1]江苏师范大学美术学院,江苏徐州221116

出　　处：《艺术探索》2024年第1期31-37,共7页Arts Exploration

摘　　要：四王、四僧对于清初山水画的贡献主要体现在摹古与创新两个方面。四王恪守南宗正脉,致力于摹古,旨在保留古法,更好地实现创新;四僧强调师法自然,虽突显出强烈的自我革新精神,但无不是筑基于深厚的摹古能力之上。对于二者而言,摹古与创新并不是非此即彼的二元对立关系,而是互相影响、互为补充。The contributions of Four Wangs and Four Monks to landscape painting in the early Qing dynasty are mainly reflected in two aspects:copying ancient masterworks and innovation.The Four Wangs scrupulously abode by the doctrine of the Southern School and devoted themselves to imitating the ancients,aiming at preserving the ancient law so as to better achieve innovation.The Four Monks emphasised learning from nature,and although they highlighted their strong spirit of self-innovation,they too founded their artistic activity on copying ancient masterworks.For both groups,copying the ancients and innovating are not binary opposites but complementary aspects of a same mindset.

关 键 词：清初 摹古 创新 四王 四僧 

分 类 号：J212[艺术—美术] K249[历史地理—历史学]