论文标题:“引书入画”在黄宾虹山水画笔墨转换中的重要作用
The Great Infection of Calligraphy to Huang Binhong"s Chinese Landscape Painting
论文作者
论文导师 龙瑞,论文学位 博士,论文专业 美术学
论文单位 中国艺术研究院,点击次数 103,论文页数 119页File Size20773K
2007-03-01论文网 http://www.lw23.com/lunwen_98322142/
draw calligraphy into painting; the tip of the writing brush; clear up; put into effect; writing conversion
黄宾虹在中国现代绘画史上是一位注重传统再发掘，努力从中国画内部破解发展难题的中国山水画画家，他的艺术实践对中国传统绘画向现代形态转换有着重要的启示意义。 本文以黄宾虹“引书入画”为主要线索，着重梳理书法对其山水画笔墨成因及时代转换的重要作用。黄宾虹以深厚的国学底蕴和对书法的独到洞见，从书法与绘画的点画结构中寻找到了“引书入画”的切入点，并从金石学中洗发出篆籒笔法来作为书法、绘画的笔法基础，以笔法正轨校正了以往绘画应用上的用笔舛误。黄宾虹的“引书入画”是从书法的法、理、意各层面展开的，他将考古学入于金石学，以金石学入于文字学，以文字学入于书学，再以书学入于画学，形成书学、画学回环互通的学术链条，最终完成了从书法向画法的转化。 黄宾虹本着“学贵根柢、道尚贯通”的学术态度，在古人总结的书法原则基础上，将毛笔工具的空间运动形式，用笔法度和用笔品质，以及书法的功夫体认与审美内涵整合贯通，概括出可为绘画所用的“五笔七墨”，使抽象的“引书入画”理论有了极强的现实操作性。 为了使书法原则更直接地运用在山水画中，提高笔墨的内容蕴涵，黄宾虹将书法点画形态的“一波三折”同山水画中皴法形态的“一波三折”相融合，生化出既有书法意味，又有皴法功用的“点画笔触”。黄宾虹的“引书入画”不仅用书法来改变自己的绘画面目，而且着眼于用书法去消解中国传统山水画千百年来所形成的皴法、树法等法式垒块，使“点画笔触”在视觉感受和书法机制的双重统摄下，成为可自由运用的笔墨语汇。黄宾虹通过“引书入画”，把中国山水画的用笔和用墨进行纯化和整合，丰富了笔墨的表现力，并将一味超脱的传统文人画笔墨落实在绘画主体感受下的自然现实中，使笔墨和自然、人生有了直接的联系。黄宾虹援书法之力，把笔墨从传统法式、程式中解放出来，并顺应笔墨本体发展规律，将“笔墨合一”的单纯化语汇导入到变化多端的画法中，为纯化后的笔墨表现提供了无限的发展空间，完成了从传统内部破解中国画现代发展的难题。 黄宾虹的“引书入画”是在中西方绘画艺术参照下进行的，他不仅寻找到书法和绘画的契合点，而且还主动地寻找中西方绘画的契合点，积极吸收西方绘画的有益成分为我所用，把中国画纳入到世界艺术发展格局中来考量。我们从黄宾虹“引书入画”的整个过程可以看出，书法形式资源对中国画当代发展具有现实作用，中国绘画是可以以民族方式完成从传统向现代转换的，中国绘画也完全有能力与世界绘画艺术平等对话。
Huang Binhong is a typical case in the modern history of Chinese painting, who attaches importance to tradition and tries to solve the problem of development from within the Chinese painting itself. His artistic practice contributes significant enlightenment to the Chinese painting in its transformation from tradition to modernity. This dissertation centers around the clue of "drawing calligraphy into painting", puts much emphasis on the vital role of calligraphy in forming Huang"s type of painting style. Based on his profound mastery of traditional culture and unique insight, and inspired by the structure of points and strokes in both calligraphy and painting, Huang defines the breaking point of "drawing calligraphy into painting", and lays the epigraphical foundation of painting and calligraphy. He combines archaeology into epigraphy, epi(?)raphy into philology, philology into calligraphy, and calligraphy into paintings. By (?)a academic cycle, he finally concludes the transformation from calligraphy description to painting description. Huang Binghong sums up the principle of "five tips of a writing brush and seven tips of ink" by integrating the motion forms of brush, technique characteristic and the esthetic penetration, and etc. This principle adds much more operationability to the abstract of theory of "drawing calligraphy into painting". In order to utilize calligraphy more directly in the Chinese landscape painting and enhance effects of its implication, Huang fuses the shape of "three waves to a single stroke" in calligraphy with the texture of rocks and mountains in the Chinese landscape painting. In this way, calligraphy becomes an important part of the landscape painting. His theory of "drawing calligraphy into painting" not only changes the painting style, but also elements of description, and turns the structure of points and strokes into a language of free flow. Huang Binhong enriches the expression ability of description by refining and reorganizing the use of ink and brush, and he establishes description relationship between ink and nature. Huang Binhong liberated painting from the shackles of traditional formula, combined refined elements of description into his paintings, and completed modernization of the traditional Chinese painting, thus providing infinite space for the development of the Chinese landscape painting. Hunag Binhong"s "drawing calligraphy into painting" also refers to the fine arts of both China and the western countries. He not only finds the integration of calligraphy and painting, but also makes great efforts to explore the resemblance between China and the west when they transcend material shape, doing his utmost to absorb the essence of western drawing. In this way, he has put the Chinese painting into the perspective of overall pattern of cosmopolitan art development. From the course of "drawing calligraphy into painting", it can be concluded that calligraphy is a great resource and has real influence to the development of Chinese painting, and that the Chinese painting has full capacity to accomplish modernity and dialogue with cosmopolitan art on an equal footing.
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