中国书画艺术Chinese Painting

沙漠

钟繇

钟繇(151－230 A.D)., 字元常，三国魏颍川(今河南许昌)人。颖川长社（今河南长葛）人。或作许昌人。历官侍中尚书仆射，封亭东武侯。魏初任相，明帝时迁太傅，世称"钟太傅",卒谥成侯。他的书法，以曹喜、蔡邕、刘德升为师，博采众长，兼善各体，尤精小楷。结构朴实严谨，笔势自然，开创了由隶书到楷书的新貌。和晋代王羲之并称"钟王"。他的书法历代为人所重视。钟的真迹，早已失传，宋代以来法帖中所刻的小楷《宣示表》，《荐季直表》等都是晋唐人临摹本。 画祖——顾恺之 在中国绘画史上，魏晋南北朝(公元420——公元581年)是一个非常重要的历史时期。长期南北战乱，朝代频繁更替，使当时的文化思想格外活跃，促进了艺术的发展。这一时期的石窟壁画、墓室壁画、石刻、砖刻以及漆画等都已达到相当高的水平，出现了开宗立派的专业画家、书法家，作为奠基中国绘画理论基础的“六法论”也在这一时期提出。在绘画上，被尊为画祖的顾恺之和他的卷轴画最具有代表性。 顾恺之(公元344——公元405年)是东晋时期（公元317——公元420年）的 画家。原名长康，字虎头，晋陵（今江苏无锡）人。出生在一个官僚家庭，年青时做过官，有机会游览各地的风景。他精通诗文，历史上关于他的轶事有不少记载。还特别注意表现人物的特点。有个叫裴楷的人脸颊上有三根长汗毛，别人为他画像时，都不画出来，顾恺之却把这三根汗毛画得特别突出，而强调对象的特征。可见顾恺之善于用特征衬托人物的个性。 《洛神赋图》是根据三国时期曹操的儿子曹植所写《洛神赋》创作。《洛神赋》描绘了曹植与洛神相逢又相别的情节，发挥了高度的艺术想象力。画家注重对人物情态的刻画，山石、树木都富有装饰性。这一作品，与同一时期的敦煌壁画有相近的风格，对后世中国画产生了深远的影响。 顾恺之在绘画理论方面也很有成就，他留下来的论著有《论画》、《画云台山记》等。他主张作画要形神兼备，他提出的“传神论”成为中国绘画的基本理论之一。根据记载，顾恺之的作品有七十多件，他画过历史故事、神佛、人物、飞禽走兽、山水等题材。可惜，现在能看到的只有《女史箴图》、《洛神赋图》和《列女仁智图》三幅卷轴画摹本了，它们是现在所知道最早的卷轴画。 Gu Kaizhi -- Originator of Painting Chinese painting came a long way during the 300-year period that saw the rise and fall of the Three Kingdoms (220-280), Jin Dynasty (265-420) and Northern and Southern Dynasties (420-581). Apart from the chaos of war and dynastic changes during this period, active intellectual life of different schools also provided a great impetus for artistic development. Well-known grotto murals, tomb paintings, stone carvings, brick carvings and lacquered paintings were produced at the time, and a number of virtuosos emerged in Chinese calligraphy and painting. Certain painting theories, such as the Graphic Theory and the Six-Rule Theory that form the theoretical basis for present-day Chinese painting, were also put forward. Gu Kaizhi, known as the founder of traditional Chinese painting, and his scroll paintings, represented the painting style of the period. Gu was born into an official family in Wuxi, Jiangsu Province and served as a government officer at a young age. Having toured many beautiful places, Gu was proficient in writing poetry and essays; Chinese art history abounds in anecdotes about him. When the construction of a temple was planned for Jiankang (Nanjing) and the monks and abbot could not collect enough money to build it, a young man offered to donate a large sum of money. He suggested he would draw a picture of the Buddha on the wall and, in the process, collect donations from curious passersby. For three consecutive days, thousands of people flocked to see the young man at work. By adding the final touches to the picture, the Buddha seemed to come alive, and the viewers cheered and applauded the young man's artistry. Hence, the money needed for the consummate construction of the temple was obtained. The young man who paid great attention to the details that revealed the characteristics of his subjects was none other than Gu Kaizhi. Gu was once was asked to paint Pei Kai's portrait, a man with three, long, fine hairs on his face that had been ignored by other painters. Gu laid great emphasis on the three hairs, and Pei was very satisfied. Another time, Gu painted a man named Xie Kun standing in the midst of mountains and rocks. When asked the reason for the setting, Gu explained that Xie loved to travel and see beautiful mountains and rivers. Such stories demonstrate Gu's skill of creating atmospheres that enhanced the characteristics of his subjects. The theme of the Luoshen Appraisal Painting (luo shen fu) was drawn from the article, Luoshen Appraisal, written by Cao Zhi, son of the Wei Emperor Cao Cao. The painting depicts the meeting between Cao Zhi and the Goddess Luoshen at Luoshui River, vividly capturing the mood of their first meeting and eventual separation. Gu emphasized his subjects' expressions, with the stones, mountains and trees having an ornamental purpose. Gu's paintings, which greatly influenced later traditional Chinese paintings, are similar in style to the Dunhuang murals. Gu also made great advances in summarizing painting theories. His theoretical works included Painting Thesis and Notes on Painting Yuntai Mountain. Gu paid considerable attention to the vivid expressions of his subjects to expose their spirit. His Graphic Theory later became a basic theory for traditional Chinese painting. According to historical records, Gu created more than 70 paintings based on historical stories, Buddha, human figures, birds, animals, mountains and rivers. His three existing scroll paintings include the Nvshi Zhen Painting, Luoshen Appraisal Painting and Lienv Renzhi Painting -- the earliest examples of scroll paintings. 画圣——吴道子 在中国古代艺术史上，有三位艺术家被称作"圣"人：一位是晋代（公元265--公元420年）王羲之，被称为书圣；一位是唐代（公元618--公元907年）杜甫，被称为诗圣；还有一位被誉为画圣，那就是唐代的吴道子。 吴道子一生主要活动在唐朝开元、天宝年间(公元713--公元755年)。吴道子出生在阳翟(今河南禹县)，小时侯就失去双亲，生活贫困，为了生计向民间画工和雕匠学习，由于他刻苦好学，才华出众，20岁时，就已经很有名 气。唐代皇帝把他召入宫中担任宫廷画师，为他改名道玄。成了御用画家的他，没有皇帝的命令，不能擅自作画。这样，一方面对他这样一个平民意识很强的艺术家是一种约束和限制，另一方面，他得到了最优厚的生活条件，不再到处流浪，可以施展自己的艺术才华。吴道子性格豪爽，喜欢在酒醉时作画。传说他在描绘壁画中佛头顶上的圆光时，不用尺规，挥笔而成。在龙兴寺作画的时候，观看者水泄不通。他画画时速度很快，像一阵旋风，一气呵成。当时的都城长安是中国的文化中心，汇集了许多著名的文人和书画家。吴道子经常和这些人在一起，相互促进、提高技艺。 吴道子主要从事宗教壁画的创作，他创作的作品题材广泛，数量也很大。据说寺廊壁画有三百余件，有记录的卷轴画有一百多件。其中佛教、道教题材最多，还有山水、花鸟、走兽等。《送子天王图》这幅画反映了吴道子的基本画风，他打破了长期以来历代沿袭顾恺之的那种游丝线描法。吴道子开创兰叶描，用笔讲究起伏变化，和内在的精神力量。他在创作的时候，处于一种高度兴奋与紧张状态，很有点表现主义的味道。 Wu Daozi, Sage in Chinese Painting In Chinese history, three people are revered as sages: the calligrapher Wang Xizhi of the West Jin Dynasty (265-316), the poet Du Fu of the Tang Dynasty (618-907) and the painter Wu Daozi, also of the Tang Dynasty. Wu's most prolific period was during the Kaiyuan and Tianbao eras (713-755) in the Tang Dynasty. Born in Yangzhai (Yu County in Henan Province), Wu lost both his parents at a young age and lived a hard life in his early years. He learned how to make a living from folk artists and sculptors. Because Wu studied hard and was talented in art, he earned himself a good reputation as a painter by the time he was 20 years old. Emperor Xuanzong invited Wu as an imperial painter in the court, naming him Daoxuan. As an imperial painter, Wu only painted at the emperor's request, which was a big restriction for a civilian painter. On the other hand, the court provided the best living conditions and was an outlet for artistic creativity. Wu's character was unrestrained, direct and indifferent to trivial matters, and it is known he always drank while painting. It is also said that when Wu drew the halo around Buddha's head in a mural, he only used his brushes without drafting the measurements first; when he painted at Longxing Temple, the temple was always packed with observers. Wu moved his brush quickly, and most of his works were accomplished in a single session. Chang'an (present day Xi'an), capital of the Tang Dynasty, was the cultural center of the time where many famous men of letters and artists lived. Wu had many opportunities to stay with them, which helped improve his painting skills. Wu mainly created religious murals all his life and his abundant works had a wide range of subjects. According to records, Wu painted over 300 murals and more than 100 scrolls. While many of them involved Buddhism and Taoism, Wu also drew mountains, rivers, flowers and birds. The Presentation of Buddha is his most representative work. Unlike his predecessor Gu Kaizhi, whose line strokes were slender and forceful but lacked variety, Wu's strokes were full of change and vigor, expressing the internal world of his subjects. Wu was always in great ferment when he was painting, and his works exhibit an expressionist style. 美术史论家——张彦远 张彦远 《历代名画记》 中国唐代时期的（公元618——公元907年）张彦远，字爱宾，蒲州猗氏(今山西省临猗县)人。他出生在宰相家庭，学问渊博，擅长书画。曾经任职官左仆射补阙、祠部员外郎、大理卿。编写的著作有《法书要录》、《彩笺诗集》和中国第一部绘画通史《历代名画记》。 《历代名画记》这本书总结了古人有关画史和画论的研究成果，继承发展了史和论相结合的传统，开创了编写绘画通史的完备体例。作者尽可能运用丰富资料，从当时的理论认识水平探讨绘画史的发展和内在联系，并以系统的绘画史料来支持自己的理论认识。全书用大量的篇幅阐述绘画史和某些画科的发展演进，讨论重大的理论问题。传记部分比较全面地汇集画家生平、思想、创作等有关资料，充分引证古人的评价，但又不受前人的局限，做到有分寸 地评价画家的得失。此外，作者更能从绘画创作欣赏的全过程着眼，把著录、鉴藏、流传、以至装裱也纳入进研究画史的必要组成部分，对于中国画史的研究提出了完整的体系。这本书长期以来被认为是中国第一部系统完整的绘画通史，具有当时绘画“百科全书”的性质，在中国绘画史学的发展中，具有承先启后的里程碑的意义。 总结张彦远的艺术观点主要有几项特征，他在肯定谢赫等人关于绘画具有道德的，政治的功能以外，更重视绘画本身的意义。张彦远强调绘画需要天才，反对呆板的死画，他强调绘画技巧的根本在于立意和用笔。他还强调绘画艺术的文化品味，特别看重画家的人格，他最早提出绘画是有教养、有学问、有独立人格的读书人的事业。张彦远在中国古代理论上所取得的成就是历史性的，从他较早的研究分析美术作品来看，称他是中国最早的艺术理论家、批评家一点也不夸张。 Art Historian: Zhang Yanyuan Zhang Yanyuan, styling himself Aibin, was the art historian of the Tang Dynasty (618-907). Born into a chancellor family in Yishi of Puzhou (Linqi County of Shanxi Province), Zhang took office as zuopushe buque, ministry counselor of the Ci department and chief minister of Dali. He was a learned scholar and excellent painter and calligrapher. Zhang's works include Fashu Yaolu, Collection of Poems on Color Paper and the first general history of art -- Records of Historical Famous Paintings. Records of Historical Famous Paintings gave a summation of ancients' achievements in painting history. Following the tradition of combining historical facts and painting critics, Zhang initiated the style of general art history. By using abundant materials, Zhang's research focused on the development and internal relations of art history, using systematic historical painting materials to support his theories. The book extensively covered the development and significant theories of the history of painting. The biography section consisted of comprehensive records of painters' lives, thoughts and works. Zhang passed equitable judgments on painters by quoting predecessors, yet still developed his own ideas. From the point of view of the whole process of art creation and appreciation, Zhang brought recording, appraising, collecting, circulating and even mounting to the list of indispensable components, which gave rise to the integral research system of Chinese painting history. For a long time, the book was regarded as China's first publication on the general painting history and bibliography of painting of the period. It had a unique position in the development of Chinese painting as a link between the past and future. In general, there are several features to Zhang's artistic theory. Apart from confirming Xie He's theory that painting had moral and political functions, Zhang put more emphasis on the meaning of painting itself. Opposing dull and stereotyped painting styles, Zhang stressed that painting needs ingenious creation and that the basic skill of painting lay in conception and stroke. A painter's cultural taste and personality were also very important to painting. Zhang was the first to forward the theory that painting was a career of moral scholars who had knowledge and unique personalities. As one of the earliest art theorists and critics, Zhang contributed many achievements to the theory of ancient painting history. 书法简史 Calligraphy History 先秦书法 宋代书法 秦汉书法 元代书法 魏晋书法 明代书法 南北朝书法 清代书法 唐代书法