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作 者:夏中义 Xia Zhongyi(Zhejiang Yuexiu University of Foreign Languages,Shaoxing 312000,Zhejiang;Shanghai Jiao Tong University)
机构地区:[1]浙江越秀外国语学院,浙江312000 [2]上海交通大学人文学院
出 处:《文艺理论研究》2024年第6期69-78,共10页Theoretical Studies in Literature and Art
摘 要:欲考辨吴昌硕、潘天寿(下简称吴、潘)为典范的“墨石诗意”,才无愧为“现代士人画品”,宜澄清如下疑点:一、“士人画”“文人画”之界限究竟何谓?二、怎样辨识吴“顽石”不仅极具“士人画品”,且无愧为“现代”?三、怎样辨识潘“磐石”亦极具“士人画品”,亦无愧为“现代”?回应如下:其一,“士人画”根在安魂,内倾于人格自圣;“文人画”根在怡性,猎奇于雅玩遣兴。其二,吴“顽石”栖息着一个墨袍钟訄(驱邪扶正),其形制酷似东坡“怪石”活着一个“醉道士”(顽且丑),吴是怀此心灵之不羁,方能弃官从艺,且在奇崛于海上画坛之际,勒石为盾,抵御“牡丹”为符号的朝野拜金教之浊流。其三,潘“磐石”则隐喻其晚境,以攀登现代水墨顶峰而不辱使命之角色自许。To identify why only“the poetics of graphite stone paintings”in Wu Changshuo and Pan Tianshou's works deserve to be referred to as representative of“modern scholars'paintings,”several issues need clarification.First,what is the boundary between“paintings by scholars”and“paintings by literati?”Second,how does one identify Wu's“stubborn stone”not only as a kind of“scholarly painting,”but also as“modern?”Third,how does one recognize Pan's“massive rock”as a“scholarly painting”worthy of being called“modern?”The response is as follows.Firstly,“scholarly painting”is rooted in tranquility and introverted in the self-sanctity of personality,while the root of“literati painting”lies in pleasure,and the pursuit of novelty lies in elegance and entertainment.Secondly,Wu's“stubborn stone”embodies a black-robed Zhong Qiu(dispelling evil and supporting the right),whose image resembles a“drunken Taoist priest”(stubborn and ugly)in Su Shi's“strange stone.”With an unrestrained mind,Wu could resign from his official position and pursue art.At the peak of his rise in the Shanghai-style painting circle,with the stone as a shield,he withstood the turbid flow of money worship shared by both the imperial court and the general population,reflected in the paintings of“peony.”Thirdly,Pan's“massive rock,”metaphorical of his late days,stands for his self-expectation to fulfill his mission to climb the pinnacle of modern ink wash painting.
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