论中国文人画的笔墨精神与时代危机

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자료유형: 학술저널

저자정보: 사술복 김종두

저널정보: 대한중국학회 중국학 중국학 제48호

발행연도: 2014.1

수록면: 101 - 122 (22page)

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中國水墨画有着東方藝術獨特的哲學意蘊和人文追求，對于“物”和“我”的關係，始終將“我”放在重要地位，從而在表現物件時“寄情于景”、“寄情于物”、“借物抒情”，最終達到“物我為一”的境界。同時又通過客觀物象主觀的藝術再創造。正因為這種“外師造化，中得心源”的繪画主張的流傳和影響，使得人文的美學思想和繪画中的筆墨精神達到完美結合。文章通過對中國画論中對水墨画語言研究，從國画審美情趣和繪画技法的關係出發，多角度地分析了提高画家自身藝術修養和豐富繪画語言的方法和意義。文中首先研究水墨画审美，詳細分析了文人画的筆墨精神。針對蘇軾提出的“文人画”概念进行分析，以及文人画成為文人追求的審美趣味的原因。“意在筆先”，這種所謂得“意”是具有詩一樣的意境，文人画清高曠達、超脫飄逸的生活情趣和審美思想。在藝術創作的過程是從“眼中之竹”到“画中之竹”，在物化過程中更加需要通過藝術思維，將藝術意象進一步具體化、明晰化和完善化。筆墨是基本語言，形象韻味包攬無余。筆墨精准，方能有力地突現主題。文人画家創作講究其意境，意境作為中國美學的重要範疇，是詩人画家在長期的生活感受中，在不斷創作經驗的積累之后才能漸臻于成熟。水墨画繪画操作方式與画家思維方式共同構成繪画語言形式的完整概念。第二部分研究文人画的时代危機。目前很多習画有注重技法從而忽視自身的人文素質、藝術修養的問題。研究繪画僅從技法等表面上的研究是遠遠不夠的，更重要的是研究水墨語言的審美系統。文人画到今天似乎走進了死胡同，很多画家的画大多在重複古人，沒有自己的筆墨語言，其画面多充斥功利浮躁之氣。窺探造成這一狀況的原因，不難發現還是画家對傳統文化缺乏深度的理解，自我修養缺失，對傳統文化缺乏認識的過程，從而造成自我修煉不到位，画品不高，自我筆墨精神難以體現。文人画的發展，需要對歷史做深刻的反思，重新研究與認識傳統，從而再發現新的墨象，再體味水墨的精神。這種反思須以新的價值觀念、新的哲學思想、新的藝術理念為出發點，須採取更加自然的藝術手法，從當代文化內涵、水墨精神和理性的各個層面加以探討。

Chinese ink-and-wash painting has an unique philosophical implication and feeling of humanities. It has always been concerned about "I" rather than "Thing". One's feelings are reflected in objects and express themselves in a description of natural living object. Finally, it would be reached the boundary of "thing and I being one" and recreate subjective arts through objective figures at the same time. This opinion and effect of "External Learning from Naturalism and Internal Comprehension, Exploring and Seeking the Source of Creation in the Course of Experiencing the Natural and the Real Life" have made complete combination of Aesthetics and Pen-and-Ink Spirit. In this study, the language of ink and wash painting was considered in Chinese arts theory. The relation between aesthetics and techniques of paintings was studied first, and then artistic disciplines of artists, the way of acquisition of rich painting language and the meaning of them were analyzed. A popular example of Pen and Ink Spirit would be a painting in the literary artist's style proposed by Su-Shi. So, at the very first, the concept of that was analyzed and the reason why literary person seek a painting in the literary artist's style was investigated. 'Conceiving' in “conceiving before painting" is artistic conception of poem. Incorrupt and elegant personality of literary person and atmosphere of detached elegant are expressed in it. The process of artistic creation is the process of change from "spiritual in eyes" to "spiritual in mind", and from "spiritual in mind" to "spiritual in painting". This is the process of materialization from imagery to figure, and specific thoughts of artist is manifested through various artistic imagination and thought. Figure and lingering charm is expressed by ink, which is basic language of ink-and-wash painting. Ink-and-wash paintings express artistic conception by brush technique and ink style and reach the boundary of aesthetic. Literary artists regard artistic conception in the process of creation. Artistic conception falls into the important category, and it matures by life experiences of artist and constant creative activity, then and not till then the language of ink-and-wash painting is completed by the way of thought and painting techniques. Next, contemporary crisis of paintings in the literary artist's style was examined. Today studies for paintings are far from sufficient. Because many artists put more weight on techniques of ink-and-wash painting rather than aesthetics of ink-and-wash painting, cultivation of the mind and artistic development. Many artists just follow an old tradition without their own language of brush and ink and their pictures are filled with self-interest and selfish desire. It is because they do not fully understand traditional culture and lack self-discipline. As a result, a painting in the literary artist's style is in urgent crisis since dignity of paintings declines remarkably and pen-and-ink spirit is not reflected in the pictures. A painting in the literary artist's style requires deep thinking. Studies for history of existing ink-and-wash paintings should be done actively, so one should rediscover calligraphy ink impression and learn individual pen-and-ink spirit in directly. This kind of spiritual awakening must start from new values, philosophical ideology and art idea. And then natural techniques of the art should be chosen. Finally, contemporary implied culture, spirit of ink-and-wash painting and rationality should be reexamined in various aspects.

#중국문인화 #中國文人?) #수묵 #水墨) #필묵정신 #筆墨精神) #심미 #審美) #시대위기 #時代危機) #Chinese Painting in the Literary Artist's Style #Ink and Wash #Pen and Ink Spirit #Aesthetics #Crisis of times

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참고문헌 신청

? ? / 2005 / ?中??花??九人探索交流展??代中??的最高?美理想 / ??家

? 朗 / 1985 / 中?美?史大? / 上海人民出版社

??? / 1986 / 中????? / 人民美?出版社

?伯峻 / 1980 / ???注 / 中??局

?伯峻 / 1980 / 孟子?注 / 中??局

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謝術福

소속기관 대한중국학회

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