[1]张晶.“逸”:恽格绘画美学思想的核心观念[J].常州大学学报(社会科学版),2017,18(06):100-108.[doi:10.3969/j.issn.2095-042X.2017.06.012]
　Zhang Jing.“Yi”: The Core Concept in Yun Ge’s Painting Aesthetics[J].Journal of Changzhou University(Social Science Edition),2017,18(06):100-108.[doi:10.3969/j.issn.2095-042X.2017.06.012]
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“逸”:恽格绘画美学思想的核心观念()
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常州大学学报(社会科学版)[ISSN:2095-042X/CN:32-1821/C]

卷:
第18卷
期数:
2017年06期
页码:
100-108
栏目:
文史研究
出版日期:
2017-12-20

文章信息/Info

Title:
“Yi”: The Core Concept in Yun Ge’s Painting Aesthetics
作者:
张晶
Author(s):
Zhang Jing
关键词:
“逸”; 恽格; 《南田画跋》; 南北宗
Keywords:
Yi;  Yun Ge;  Nantian’s Postscript of Paintings;  the south and the north schools
分类号:
J201
DOI:
10.3969/j.issn.2095-042X.2017.06.012
文献标志码:
A
摘要:
“逸”是宋元以来文人画的重要价值观念。唐代朱景玄作《唐朝名画录》，最早以“神、妙、能、逸”四品评画，所指系“非画之本法”、不主故常的画法。宋代黄休复作《益州名画录》也以四品评画，却以“逸、神、妙、能”为评价等级，并以“拙规矩于方圆，鄙精研于彩绘。笔简形具，得之自然。莫可楷模，出于意表，故目之曰逸格”加以界定。“逸”成为最高评价品级。“逸”在“元四家”尤其是倪瓒的绘画思想中成为最为鲜明的旗帜。在清初六家之一的著名画家、画论家恽格（南田）的画论及创作中，“逸”成为核心的绘画美学观念及价值标准。而南田画论中的“
Abstract:
“Yi” has been an important value in literati paintings since the Song and Yuan Dynasties. Zhu Jingxuan in the Tang Dynasty took Shen, Miao, Neng and Yi as the four standards in painting criticism from the very beginning in his book Famous Paintings of the Tang Dynasty, and pointed out that the standards are “not the original law of painting”, but in an innovative way. Huang Xiufu in the Song Dynasty also used four standards in painting criticism in his book Famous Paintings of Yi Zhou, but in an order of Yi, Shen, Miao and Neng by defining that “limited by the established rules, and paying too much attention to color description. Using simple methods in painting, the shape is in a natural way. It doesn’t imitate but transcends the surface meaning, which is called the form of Yi”. Thus, “Yi” has become the highest standard. “Yi” became the most distinctive flag of “the four famous painters in the Yuan Dynasty”, especially in Ni Zan’s painting thoughts. “Yi” also became the core painting aesthetic concept and value of Yun Ge’s (Nantian) painting criticism and paintings, who was one of the six famous painters and painting critics in the early Qing Dynasty. On the one hand, “Yi Ge”, “Yi Pin” and “Yi Qi” in Nantian’s painting criticism have been the approval of the traditional concept of “Yi” in literati paintings since the Song and Yuan Dynasties. On the other hand, they give “Yi” a new connotation and distinctive quality of the times from different perspectives of creation and comment.

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备注/Memo

备注/Memo:
作者简介：张晶，中国传媒大学资深教授，博士生导师；北京市美育与文明研究基地主任兼首席专家。基金项目：国家社会科学基金一般项目“中国古代文艺理论对文艺美学的建构意义”（10BZW019）。
更新日期/Last Update: 2017-12-20