从《六祖斫竹图》东渡看禅宗画对日本画的影响  

Examining the Influence of Chan Paintings on Japanese Paintings,Taking the Introduction of the Sixth Chan Patriarch Chopping Bamboo to Japan as an example

作　　者：王晓黎[1] Wang Xiaoli(Fine Arts School,Hangzhou Normal University)

机构地区：[1]杭州师范大学美术学院

出　　处：《美术》2024年第8期110-117,共8页Art Magazine

基　　金：2022年度杭州市哲学社会科学规划课题《南宋杭州写意人物画研究》(项目编号:M22JC112)的研究成果。

摘　　要：南宋以降,许多中国绘画作品随着中日禅僧间的文化交流及商船的贸易往来而东渡日本,对日本室町时代的绘画产生了巨大影响。其中,尤以南宋画家梁楷的代表作《六祖斫竹图》为始,其别具一格的“泼墨”“减笔”特征,不仅开中国禅宗人物画之先河,也为一海之隔的日本画带来了新风。本文以《六祖斫竹图》的东渡为切入点,梳理由中国传入日本的禅宗画的脉络,从经济、文化、政治等多方面分析日本为何对禅宗画青睐有加,并从禅宗画的风格流变、日本画僧对禅宗画的吸收与发展,探讨禅宗画为何能影响日本画坛至今。Since the Southern Song Dynasty,many Chinese paintings have been introduced to Japan because of cultural exchanges between Chinese and Japanese Chan monks and trade of merchant ships,which has had a huge impact on paintings created during the Muromachi period in Japan.In particular,the Sixth Chan Patriarch Chopping Bamboo,a representative work of Liang Kai painted with unique techniques of"splashing ink"and"reducing brushstrokes",blazed a new trail of Chinese Chan figure paintings and brought a new style to Japanese paintings.Starting from the introduction of this painting to Japan,this article sorts out Chinese Chan paintings introduced to Japan,analyzes why the country was interested in Chan paintings from economic,cultural and political aspects,and discusses why Chan paintings could have a continuous influence on Japanese paintings till this day from the perspectives of changes in Chan painting styles and the embrace and development of Chan Paintings by Japanese monk painters.

关 键 词：梁楷 禅宗画 日本画 美术交流 

分 类 号：J212[艺术—美术] B946.5[哲学宗教—宗教学] K23[历史地理—历史学] K313.33[历史地理—中国史] G125[文化科学]