画论中“生知”概念的讨源与发微  

Discussion on the Origin and Elaboration of the Concept of "Sheng Zhi"in Painting Theor

作　　者：勾崇智 Gou Chongzhi

机构地区：[1]中央美术学院人文学院

出　　处：《美术观察》2024年第10期37-44,共8页Art Observation

摘　　要：不同于“气韵生知”的不可学论,首先,笔者考证南齐《画品》[1]中“生知”所形容的姚昙度,应为后世标准中“可学”的工匠画家。进一步考察“生知”在当时的社会语境,它的形容对象多是圣王,而谢赫将之应用到画论中是一大创举。其次,笔者勾勒了“生知”概念在史书和画论中的流变。唐代“生知”开始出现下沉,不再成为圣王的专指,而广泛流行于艺术领域。最后,通过校勘《画品》“姚昙度”条《历代名画记》本和单行本两个系统的差异,以及北朝到宋的画论,笔者指出《历代名画记》系统更接近《画品》原貌:“生知”与“学”是不冲突的关系。历史中一直都有对立和不对立的两条线索并行,转向“气韵生知”不可学论的时间节点在唐代,单行本系统《画品》受此影响,使得“生知”概念丰富的关系被单一化。Different from the unlearnable theory,the author points out that Yao Tandu described by"Sheng Zhi"in Painting Appreciation of Southern Qi Dynasty,should be a"learnable"craftsman painter in the standards of later generations.Further investigation of"Sheng Zhi"in the social context at that time,its descriptive object is mostly the holy king,and Sheikh's application of it to painting theory is a great initiative.Secondly,the author outlines the change of the concept of"Sheng Zhi"in history books and painting theory,the Tang Dynasty"Sheng Zhi"began to sink,no longer became a special reference to the king,but widely popular in the field of art.Finally,by correcting the differences between the two systems of"Yao Tandu"and the offprint of the book of Painting Appreciation,and examining the painting theories from the Northern Dynasty to the Song Dynasty,the author points out that the system of The Famous Paintings of the Past Dynasties is closer to the original appearance of the book of Painting Appreciation:"Sheng Zhi"and"learning"are not in conflict.In history,there have always been two clues of opposites and non-opposites in parallel.The time node of turning to"Sheng Zhi"which cannot be learned was in the Tang Dynasty.Influenced by this,the book of Painting Appreciation of the offprint made the rich relationship of"Sheng Zhi"simple.

关 键 词：生知 画品 历代名画记 姚昙度 

分 类 号：J209.2[艺术—美术]