黄宾虹“夜山”意象的四个发生学维度  

Four Evolutionary Dimensions of the Images in HUANG Binhong’s Night Mountains

作　　者：段歌 DUAN Ge(School of Philosophy,Fudan University,Shanghai 200433,China)

机构地区：[1]复旦大学哲学学院,上海200433

出　　处：《贵州大学学报（艺术版）》2024年第4期34-43,共10页Journal of Guizhou University Art Edition

摘　　要：“夜山”是黄宾虹晚年山水画的经典主题,以其为案例在发生学维度上进行分析,发现“夜山”是一个融通了哲学与艺术的复义概念。它聚焦于“墨”这一文人山水画构成的关键元素,在先秦—北宋道学宇宙论与本体论的哲学语境下,是时空层面上对宇宙或道的原点的图像隐喻,进而通过北宋文人的雄伟山水传统,“夜山”又被丰富的墨法实践转化为抽象的“夜山”意象。墨法的丰富运用与主体心性之间的同构关系形成审美静境,破除了哲学上的对立话语系统,上升到无根基状态的内美,并生成了黄宾虹提出的“墨华”这一浑厚华滋与沉雄古厚并蓄的中国文人画极境。Night Mountains is a saclassic theme in HUANG Binhong’s late landscape paintings.By analyzing it from the semiotic perspective,it can be noted that the night mountain is a concept that integrates philosophy and art.Because in the philosophical context of Daoist cosmology and ontology from the periods of pre-Qin to Northern Song Dynasty,it is an image metaphor of the origin or Dao in terms of space and time as it focuses on “ink” as the key element in the composition of literati landscape paintings.Subsequently,through the monumental tradition of landscape painting by Northern Song literati,the mountains at night were transformed into an abstract image through rich techniques of ink stroke.The isomorphic relationship between the rich application of ink strokes and the subjective mentality create an aesthetic tranquility,which transcends the antithetical discourse in philosophy,ascends to an inner beauty without roo,and gives rise to HUANG Binhong’s idea of“essence of ink”and the pinnacle of Chinese literati painting that embodies a profound and lush beauty alongside a somber and ancient richness.

关 键 词：黄宾虹 “夜山” 中国文人画 内美 墨华 

分 类 号：J212[艺术—美术]