【摘要】：身歷明清鼎革的王鐸,存世繪畫不多,但山水作品別具一格。經(jīng)梳理可知,他創(chuàng)作的山水畫在晚明時(shí)較少,入清之后則漸次增多。其畫構(gòu)圖專取五代荊浩、關(guān)仝慣用的高遠(yuǎn)之法,氣魄博大沉雄,間或運(yùn)用唐王維、五代董源的墨法,令畫面不失于單調(diào)、重復(fù)。王鐸的山水畫成就多來自"臨古"的藝術(shù)實(shí)踐,他既能從中汲取古人優(yōu)長,又能不拘泥于前賢繩墨,敢于突破"形似"的羈絆,強(qiáng)調(diào)藉簡括樸拙的筆墨表現(xiàn)雄強(qiáng)高闊的萬千氣象。這正是他經(jīng)由"臨古"之途,實(shí)踐"創(chuàng)新"之思,得以在畫壇占有一席之地的重要因素。此外,王鐸筆下的山水別有幽微之義,或在排遣身仕兩朝的糾結(jié)情緒之際,存有詮釋林泉志向與期冀致仕的隱衷,或借思鄉(xiāng)之情而傳達(dá)出懷念故國的情緒。
[Abstract]:Wang Duo in Ming and Qing dynasties had few paintings in the world, but his landscape works were unique. Through combing, he created less landscape paintings in the late Ming Dynasty, then gradually increased after the Qing Dynasty. The composition of the painting is designed to take the five dynasties Jinghao, Guan Tong used the method of Gao Yuan, bold and magnificent Shen Xiong, occasionally using Tang Wang Wei, the five dynasties Dong Yuan's ink method, so that the screen is monotonous, repetitive. Wang Duo's achievements in landscape painting mostly come from the artistic practice of "coming to ancient times". He can not only draw from the ancients' excellence, but also not stick to the ink of the former sages, and dare to break through the fetters of "resemblance". Emphasis on the simple description of the plain pen and ink performance of the grand high and wide weather. This is the important factor that he can occupy a place in the painting world by practicing the thought of "innovation" through the way of "coming to ancient times". In addition, the landscape written by Wang Duo has a subtle meaning, or at the time of the entanglement between the two dynasties, there is interpretation of Lin Quan's aspirations and expectations to the official, or through homesickness to convey the feelings of nostalgia for the country.
【作者單位】： 故宮博物院書畫部;
【分類號(hào)】：J212

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1 卿三兵;董其昌臨古研究[D];中國美術(shù)學(xué)院;2016年

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