白玉蟾“画通仙道”的绘画思想——基于其山水画论与道教思想意涵的考察  

Bai Yuchan's painting thoughts of integrating painting with immortality:a study of his landscape painting theory and Taoist thought

作　　者：罗惠文 LUO Huiwen(Institute for Collaborative Innovation in Chinese Visual Studies,China Academy of Fine Arts,Hangzhou 310000,China)

机构地区：[1]中国美术学院视觉中国协同创新中心,浙江杭州310002

出　　处：《海南大学学报（人文社会科学版）》2024年第6期226-234,共9页Journal of Hainan University （Humanities & Social Sciences）

摘　　要：白玉蟾画论体现了他对绘画与道教关系的理解,在他的知识结构中,绘画的最终旨趣与金丹修仙之道相互融通。在他的画史建构中,各种绘画门类都有画之仙者。画之仙者,能体诸造化,人与造化相感而最终显现于绘画之中。白玉蟾论画既承续了自庄子、宗炳以来关于天地造化与山水形神关系的理解,又以自身道教的知识结构重新建构了绘画中的山水观念,并阐明了绘画的旨趣在于“画通仙道”。他对绘画和道教相通性的理解影响了金蓬头、黄公望的绘画思想,而这种相通性最终成为了明清文人画审美的思想源头之一。Bai Yuchan's painting theory reflects his understanding of the relationship between painting and Tao-ism.In his knowledge structure,the aim of painting is integrated with immortality.In his painting history,there are the outstanding painters in the different schools of painting.They can feel nature and reflect it in their paintings.Bai Yuchan's painting theory inherits the understanding of the relationship between the natural beauty and the form and spirit of landscape from Zhuangzi and Zongbing.Meantime,he reconstructs the no-tion of landscape in the painting with his personal knowledge of Taoism,and clarifies that the purport of painting is to integrate painting with immortality.His understanding of integrating painting with immortality influences the painting thought of Jin Pengtou and Huang Gongwang,and this integration eventually becomes one of the sources of the aesthetic thoughts of painting among the literati in the Ming and Qing Dynasties.

关 键 词：白玉蟾 山水画论 道教思想 

分 类 号：J20-05[艺术—美术]