郭熙的“影壁”艺术及对宋代石窟壁塑的影响  

The Art of Guo Xi’s“Shadow Wall”in the Northern Song Dynasty and Its Influence on the Cave Wall Sculpture

作　　者：陈学书[1] Chen Xueshu

机构地区：[1]河南财经政法大学美术与设计学院

出　　处：《美术观察》2025年第1期79-81,共3页Art Observation

摘　　要：“影壁”艺术是北宋郭熙在继承前人的基础上将山水画与壁画、雕塑融合而创的一种全新的艺术表达形式。他创造性地以“枪泥”代替“泥掌”,将泥与墨交织融汇,拓展了山水画的形式语言与空间意识,也使得审美变得更加自由、洒脱,由“形似”向“意足”转折,对文人绘画的发展有着深远的影响。通过对南宋邓椿《画继》等文献中有关郭熙“影壁”相关记载的梳理,以甘肃罗汉洞石窟残存壁塑为参照,解析郭熙“影壁”艺术的形式语言与技法运用,探索其审美表达与价值传承,为后续研究提供参考。“Shadow wall”art represents a novel form of artistic expression pioneered by Guo Xi during the Northern Song Dynasty,which synthesizes elements of landscape painting with mural and sculptural techniques while building upon the foundations laid by earlier artists.He innovatively substituted“clay palm”with“gun clay”,intertwining mud and ink to broaden both the formal language and spatial awareness inherent in landscape painting.This transformation rendered aesthetic experiences more liberated and nuanced,shifting focus from mere representation to deeper meaning,thereby exerting a significant influence on the evolution of literati painting.By examining pertinent references to Guo Xi’s“shadow wall”found in Deng Chun’s Painting Ji as well as other Southern Song Dynasty documents,this paper analyzes the artistic language and technical applications associated with Guo Xi’s work,investigates its aesthetic expressions and value transmission,and offers insights for future research-using the remaining wall sculptures in Luohan Cave grottos in Gansu as a foundational reference.

关 键 词：郭熙 影壁艺术 罗汉洞石窟壁塑 艺术特色 

分 类 号：J05[艺术—艺术理论]