@article{ART002127937},
author={Kim Yeon-Joo and KIM EUN KYUNG},
title={The Significance of Landscape Painting History in JingHao(荊浩)’s 'TuZhen(圖眞)’ Painting Theory},
journal={중앙사론},
issn={1229-3652},
year={2016},
number={43},
pages={247-275}
TY - JOUR
AU - Kim Yeon-Joo
AU - KIM EUN KYUNG
TI - The Significance of Landscape Painting History in JingHao(荊浩)’s 'TuZhen(圖眞)’ Painting Theory
JO - 중앙사론
PY - 2016
VL - null
IS - 43
PB - Institute for Historical Studies at Chung-Ang University
SP - 247
EP - 275
SN - 1229-3652
AB - 荆浩(870～930)是隐居儒学者, 以创作山水画引领山水体会境界, 并著述了画论『笔法记』. 他在实际创作上构筑绘画世界时, 折中吴道子的笔和项容的墨而带来了山水画技法的成熟, 并通过写生追求图真创造出真景为创作目标. 他的理论继承了宗炳(375～443)和王微(415～453)的山水画论, 根据亲身体会，逻辑系统的谈到绘画创作论, 这点对以后山水画创作和理论的影响非常大.
『笔法记』是通过偶然遇见道人石鼓岩子，客观化荆浩自己的山水画创作论而陈言的对话形式的画论. 把画论的创作理念作为其本质规定为‘图真’，并追求图真山水画创作的主要真谛，说明‘六要’与批评性观点的区别为神․妙․奇․巧四个阶段论述了以艺术方式体现出来的画品. 六要包含‘气․韵․思․景․笔․墨,’ 其各要素相辅相成. 气以笔显露，作为其内在的本质与笔相结合显露为墨的韵. 因为荆浩重视韵和墨，所以从谢赫的‘气韵生动’中分离了‘气’. 荆浩对墨给予价值, 显露出韵, 使得水墨画获得崭新的时代性, 以墨谈论着韵, 并重视运用以品等的标准. 荆浩透过笔墨想要表现出主观性的内在, 体会并通过山水表现出来.
因此‘六要’是为了创作真景的方法论, 并通过实践体现的方式会产生神 ․妙․奇․巧四种绘画阶段. ‘神’和‘妙’的阶段是把绘画的根源放在表现所有事物本质上创作的境地. 只是无意当中自由自在地画出真之境地的绘画属于‘神,’通过深思把所意图的真之境地，毫无顾忌地画出来的绘画为‘妙’. 又是如果‘奇’过于不合理就会无法达到真景, ‘巧’是洋溢出探究道理的思维, 显著出现人为的表现, ‘奇’缺乏思维, ‘巧’是偏重于小技巧和华丽夺目的外表描写的阶段.
由于荆浩的 『笔法记』山水并不是人物身旁的, 而是获得与人物相等的地位, ‘神’和‘气韵’不仅是人物画, 而且还是在山水画里所表现的, 气韵论和传神论适用于山水画理论上了.
因此图真的创作论是荆浩通过‘六要’把山水画变为内在精神性强的文人隐士们体载的核心内容, 并且成为山水画的指向点. 这是山水画不追求事物的个别性與偶然性形象, 而追求本质性及普遍性艺术形象来趋于衬托精神性和观念性的艺术性‧审美性倾向. 这就是荆浩在山水画史上從人物画過度到山水画之时, 显露出他的慧眼, 并其方法论而言, 可谓是把气韵论和形神论轉化爲笔墨论.
KW - JingHao(荊浩);‘TuZhen(圖眞);’Six Core(六要);Northern Landscape Painting;Bifaji(筆法記);Shuimohua(水墨畵)
DO -
UR -
ER -
Kim Yeon-Joo and KIM EUN KYUNG. (2016). The Significance of Landscape Painting History in JingHao(荊浩)’s 'TuZhen(圖眞)’ Painting Theory. 중앙사론, 43, 247-275.
Kim Yeon-Joo and KIM EUN KYUNG. 2016, "The Significance of Landscape Painting History in JingHao(荊浩)’s 'TuZhen(圖眞)’ Painting Theory", 중앙사론, no.43, pp.247-275.
Kim Yeon-Joo, KIM EUN KYUNG "The Significance of Landscape Painting History in JingHao(荊浩)’s 'TuZhen(圖眞)’ Painting Theory" 중앙사론 43 pp.247-275 (2016) : 247.
Kim Yeon-Joo, KIM EUN KYUNG. The Significance of Landscape Painting History in JingHao(荊浩)’s 'TuZhen(圖眞)’ Painting Theory. 2016; 43 : 247-275.
Kim Yeon-Joo and KIM EUN KYUNG. "The Significance of Landscape Painting History in JingHao(荊浩)’s 'TuZhen(圖眞)’ Painting Theory" 중앙사론 no.43(2016) : 247-275.
Kim Yeon-Joo; KIM EUN KYUNG. The Significance of Landscape Painting History in JingHao(荊浩)’s 'TuZhen(圖眞)’ Painting Theory. 중앙사론, 43, 247-275.
Kim Yeon-Joo; KIM EUN KYUNG. The Significance of Landscape Painting History in JingHao(荊浩)’s 'TuZhen(圖眞)’ Painting Theory. 중앙사론. 2016; 43 247-275.
Kim Yeon-Joo, KIM EUN KYUNG. The Significance of Landscape Painting History in JingHao(荊浩)’s 'TuZhen(圖眞)’ Painting Theory. 2016; 43 : 247-275.
Kim Yeon-Joo and KIM EUN KYUNG. "The Significance of Landscape Painting History in JingHao(荊浩)’s 'TuZhen(圖眞)’ Painting Theory" 중앙사론 no.43(2016) : 247-275.
