从有法无法论看石涛的绘画创新

发布时间：2018-05-21 11:10

本文选题：创新 + 有法　；参考：《曲阜师范大学》2014年硕士论文

【摘要】：本文把对绘画“有法”、“无法”的思考做为切入点，层层深入的分析石涛在绘画创新方面的努力与成就。首先我通过思考石涛为什么要提出绘画“有法无法论”来进一步分析石涛绘画美学的思想体系及其哲学基础，在此基础上了解到“有法无法论”的具体内容是指绘画由无法到有法再到我用我法的学习创作过程。这里提到的“法”，在我看来是历代画家在绘画实践过程中所获得的经验，然后我们把这些经验归纳起来作为我们学习的规范法则。然而法则是需要我们在学习的基础上去突破的，而不是用来束缚我们的陈规旧俗。既要继承传统绘画技法又要发展，创造新的法则，要与时俱进做到“笔墨当随时代”①。石涛通过他一生的躬身践行，实现了“我用我法”，留下了数不胜数的绘画杰作，我们从他的每一幅画中都可以看出他在创新方面的努力自己取得的成果。在不断实践的基础上，石涛也形成了一系列的绘画理论，这也是他创新的成就。他提出史无前例的“一画论”用来引导大家正确对待前人已有的法则，，指导我们去超越前人超越自己。石涛有关于绘画的理论，都来自于他孜孜不倦的绘画实践。他早年对前人绘画的广泛学习以及他在诗书方面的积淀都为他后来的创新奠定了坚实的基础。他的足迹遍及大江南北，“用情笔墨之中，放怀笔墨之外”②，将自己的真实情感充分的灌注到笔墨之中，他的每一幅画作都是由心而生的。他在创作过程中时刻保持清醒，克服客观事物的干扰，将“我”自由自在的表现在他的作品中，同时在题跋中用“我自用我法”、“任是清湘一家法”等字眼来标榜自己穿越古法的决心。石涛作为一个成功的画家同样也经历了继承传统和革故创新的发展历程。他在对待传统的态度方面不同于董其昌所倡导的摹古之风。他首先用“古人未立法之前，不知古人法何法”来抨击摹古的行为。石涛否定“法”的权威性，认为“法”是在绘画实践过程中逐渐形成的，是今人对前人绘画法则的总结。石涛用他的实际行动向我们演示了如何对待传统，如何“开今”。他在深入研究了古人绘画作品之后意识到“师古人之心”才是学习传统而又不会被传统所囿的关键，只有深入的研究了传统、领会了古人的美学原理，才能不停留在“师古人之迹”的肤浅认识的阶段，最终才能做到“借古开今”。石涛独特的绘画理论是基于他大胆的创新尝试之上的。他从自己内心真实的感受出发，“画受墨，墨受笔，笔受腕，腕受心。③”也正因为如此，石涛才会有很多大胆尝试与创新。他在笔墨技法、构图、不同景物的表现方法、画家的艺术态度和品性等方面都进行了大胆的尝试同时也有他自己独到的见解。以上赘述，无非只是想表明石涛无论是在理论方面还是绘画方面都是当之无愧的创新典范。由于他的创新精神是每个时代不可或缺的，所以他才被他之后的历代画家追捧为艺术导师。他指导我们要在实践基础上标新立异，跟随时代去创造新的法则，创立有独立见解的“自由国度”。
[Abstract]:This article takes the thinking of painting "law" and "unable" as the breakthrough point, and analyzes the efforts and achievements of Shi Tao in the innovation of painting.
First of all, by thinking about why Shi Tao should put forward painting "there is no law" to further analyze the ideological system and philosophical foundation of Shi Tao's painting aesthetics, on this basis, it is understood that the concrete content of "the method can not be discussed" refers to the process of painting from the inability to the law to my method of learning. In my view, it is the experience gained by the artists of the past dynasties in the process of painting practice, and then we sum up these experiences as the norm of our study. However, the law requires us to break through on the basis of learning, not to fetter our old and old customs. The law is to keep pace with the times "with the times". Shi Tao, through his lifelong practice, realized "I use my law" and left countless masterpieces of painting. From each of his paintings, we can see the achievements he made in his efforts in innovation. On the basis of continuous practice, Shi Tao also formed A series of painting theories, which are his innovative achievements, put forward an unprecedented "one painting theory" to guide us to correctly treat the existing laws of predecessors and guide us to transcend our predecessors.
Shi Tao's theory of painting comes from his tireless painting practice. His early years of extensive study of previous paintings and the accumulation of his poems and books laid a solid foundation for his subsequent innovation. Fully perfused into the pen and ink, each of his paintings was born of heart. He kept sober and overcame the interference of the objective things in the process of creation. He displayed the "I" in his works freely. At the same time, he used the words "I use myself" and "the Qing Xiang one family law" in the inscription. As a successful painter, Shi Tao, as a successful painter, has also experienced the development of tradition and revolutionary innovation. His attitude towards tradition is different from the style of imitation advocated by Dong Qichang. He first criticized the act of copying the ancient times with "the ancients did not have legislation before and did not know the law of the ancients". In the process of painting practice, "law" is formed gradually in the process of painting practice. It is a summary of the painting rules of the predecessors. Shi Tao demonstrated how to treat tradition and how to "open the present" with his practical action. After studying the paintings of ancient people, he realized that "the heart of the teacher and the ancient people" was the learning tradition and not the tradition. The key to the problem is to deeply study the tradition and comprehend the aesthetic principles of the ancient people, so that we can not stop in the superficial understanding of "the traces of the ancient people of the teachers" and finally achieve the "borrow the ancient times".
Shi Tao's unique painting theory is based on his bold innovative attempt. He starts from his inner feelings, "painting ink, ink and pen, wrist and wrist." it is precisely because of this, that Shi Tao has a lot of bold attempts and innovations. He is in the style of pen and ink, the expression of different scenes, the artistic attitude of the painter and the artistic attitude of the painter. Character and other aspects of the bold attempt, but also his own unique insights.
The above statement is just to show that Shi Tao is a well deserved model in both theory and painting. Because his spirit of innovation is indispensable in every era, he is pursued by his successive artists as an art tutor. He instructs us to mark new differences on the basis of practice and follow the times. Create a new rule and create a free state with independent opinions.
【学位授予单位】：曲阜师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J205

【参考文献】