恽寿平主导王翚山水艺术“高逸”之格的新观察——康熙壬子近园“恽王”、笪重光艺术史考  

‘Noble and Ethereal’——A More Look into the Artistic Exchanges between‘Yun Wang’and Da Chongguang at Jin Garden in Renzi Year of Kangxi Reign

作　　者：田艺珉[1] Tian Yimin

机构地区：[1]故宫博物院书画部

出　　处：《故宫博物院院刊》2025年第1期96-120,154,共26页Palace Museum Journal

摘　　要：康熙壬子(1672)秋,“恽王”、笪重光在毗陵近园连床夜话讨论古今书画笔墨,三公以高度一致的笔墨倾向与画学思想深入探究山水艺术,为世间留存了十余件珍贵甲级文物。其时“毗陵秋兴”亦突破画史意义,成为清代文学唱咏的主题。其后,“恽王”又评阅笪重光《画筌》,实为艺苑不朽之胜事!恽寿平“深于山水者能通写生之意”的论述,使其艺术成就不仅局限于对“写生正宗”的画史叙述,更为山水艺术的“高逸”之格提供了更宽广的表现路径,并启发了至友的笔墨潜质,使王翚“高逸”之格的山水成就在“恽王”聚首于玉峰园池时达至顶峰。‘Yun Wang’,referring to Yun Shouping and Wang Hui,once discussed Chinese traditional and modern works of painting and calligraphy together with Da Chongguang at Jin Garden in Piling in the autumn of Renzi year(1672)of Emperor Kangxi's reign.With the common aesthetics and ideas on brush-and-ink art,they enjoyed the nuances of landscape art,leaving more than ten precious masterpieces behind for later generations.The‘Piling Autumn Reverie’(毗陵秋兴图)means more than a painting itself in historical sense,it is taken as the theme of the literary and art of the Qing dynasty.‘Yun Wang’highly praised Da Chongguang's‘Tricks of Painting’(画筌)as an immortal work of art.Yun Shouping's comments of‘one that excels in landscape feels a good sense of painting nature’inspired Wang Hui to go beyond his attainment in depiction of life to a vaster and broader landscape with Gaoyi(noble and ethereal)artistic composition,which led him to the peak of his artistic career by their reunion at Yu Feng Garden's ponds.

关 键 词：“恽王”(画史对恽寿平、王翚之合称) 笪重光 “壬子近园” 山水 高逸 

分 类 号：J212[艺术—美术]