| 摘要: | 本文從〈廬山高〉論述為研究起點，延續至「明山淨水」探討明代文人畫家沈周藝術風格在中國繪畫史上，是如何成就另一個重要的轉變期。文人畫自北宋發軔以來，歷經南宋的傳布，到了元代方蔚成一大藝術潮流；當時推動思潮的趙孟頫（1254-1322）和高克恭（1248-1310）踞於高位，影響所及「元四大家」黃公望、倪瓚、王蒙、吳鎮等畫家，「元四大家」各具明顯的文人性格，他們的構圖、皴法雖然大異其趣，但多數以江南自然景象為背景，各家善用水墨來經營畫面，打造元代山水畫的輝煌紀元。
文人畫之演變到了明代時期，畫派相繼因運而生，早期是由院體以及「浙派」主盟畫壇，中期風生水起，改由「吳門畫派」取而代之，晚期則是正統文人畫佔據主流。沈周富而好禮，獨善其身，領軍吳門畫派獨步畫壇，身為一位文人畫歷史演進的典型者，領袖群倫，其意義深遠。沈周的人品和繪畫藝術高度，不僅提供文人筆墨客觀神韻與畫趣之形而上思辨，更值得後世之學者方家研析暨深究；其繪畫藝術成就可謂相當特出，影響後來數百年後的畫壇，餘波盪漾，未得終止。在「明四大家」的身上，山水畫相當講究寫生「皴法」的風格傳承。吳門沈周、文徵明、唐寅和仇英，書畫創作從其心，尋求表現解讀山川自然景物的手法，各顯其的文人性格和筆墨形質之形式和內容表現，更把個人對山水靈秀的情懷，訴諸筆墨書畫詩文之中。
「能知一代畫師，自能知曉一代之畫」，文人筆墨與畫家的生活、自然環境之反應有著莫大的關係，基本技法脫去「縱橫」習氣，使筆墨更趨於穩重樸拙、深遠微妙的意境。審視「明四大家」的畫作與其經營結構，頗能參透謝赫繪畫六法之首要法則：「氣韻生動」，應其目而會其心，詩、書、畫「三絕」研究之林則遠紹元、明之際，「文人畫」將筆墨提昇到全新的高度，成為山水畫乃至各畫科重要的創作法則，締造中國山水畫文人筆墨的另一個巔峰，對後世繪畫創作風氣和影響力，燦然可觀。
This article starts from the discussion of "Lushan High" and continues to "Mingshan Pure Water" to explore how the artistic style of Shen Zhou, a literati painter in the Ming Dynasty, achieved another important transition period in the history of Chinese painting. Literati painting began in the Northern Song Dynasty, spread through the Southern Song Dynasty, and became a major artistic trend in the Yuan Dynasty. At that time, Zhao Mengfu (1254-1322) and Gao Kegong (1248-1310), who promoted the trend of thought, were in high positions and influenced the Yuan Dynasty. The "Four Great Masters of the Yuan Dynasty", including Huang Gongwang, Ni Zan, Wang Meng, and Wu Zhen, each have an obvious literati character. Although their compositions and painting methods are very different, most of them use the natural scenery of Jiangnan as the background. He made good use of ink to manage the picture, creating a glorious era of landscape painting in the Yuan Dynasty.
The evolution of literati painting reached the Ming Dynasty, when painting schools emerged one after another. In the early period, the academy and the "Zhejiang School" dominated the painting world. In the middle period, it became popular and was replaced by the "Wumen Painting School". In the later period, orthodox literati painting Paintings dominate. Shen Zhou was rich and courteous, and he took care of himself. He led the Wu School of painting and dominated the painting world. As a typical person in the historical evolution of literati painting, he was a leader of the group, which has far-reaching significance. Shen Zhou's character and high level of painting art not only provide literati with metaphysical insights into the objective charm and interest of painting, but are also worthy of analysis and in-depth study by the Fang family, a later generation of scholars. His achievements in painting art are quite outstanding and influenced the subsequent generations hundreds of years later. In the painting world, the aftermath is rippling and has not yet ended. Among the "Four Masters of the Ming Dynasty", landscape painting pays great attention to the style inheritance of the "cracking method" of sketching. Wu Men Shen Zhou, Wen Zhengming, Tang Yin and Qiu Ying created calligraphy and painting from their hearts, seeking ways to express and interpret the natural scenery of mountains and rivers. Each of them showed their literary character and the form and content of their pen and ink, and also expressed their personal feelings for the beautiful mountains and rivers. , resorting to pen and ink calligraphy, painting and poetry.
"If you can know a generation of painters, you can also know the paintings of a generation." The literati's brushwork has a great relationship with the painter's life and the response to the natural environment. The basic techniques get rid of the "vertical and horizontal" habits, making the brushwork more steady, simple, profound and subtle. artistic conception. Examining the paintings and management structures of the "Four Masters of the Ming Dynasty" can quite clearly understand the first rule of Xie He's six methods of painting: "vivid charm", corresponding to the eye and understanding of the heart. Lin Zeyuan studied the "three unique skills" of poetry, calligraphy and painting. During the Shao Yuan and Ming dynasties, "literati painting" elevated pen and ink to a whole new level and became an important creative rule for landscape painting and even all painting disciplines. It created another pinnacle of literati pen and ink for Chinese landscape painting and had a remarkable influence on the creative style and influence of later generations. |
