摘要
史载清初恽寿平"既与王翚交,曰:君独步矣,吾不为第二手。"抑或是自己"耻为天下第二手"?本文认为,恽寿平自恃与石谷画学皆出于华亭,笔墨丘壑难有更精进的突破;而花卉则为前人弱项,或可创一高雅之格,使得沉寂长久的没骨画古木逢春,因之引领了有清一代花鸟画家像蒋廷锡、华喦,以至海派画家张熊、周闲、赵之谦、任颐等,甚至今日的花鸟画坛,依然承其风规遗韵。有关"同能"与"独诣"的论争,在中国艺评中历来众说纷纭。考察王翚与恽寿平的艺术取向及其经历,不禁凸显出此一相关艺术评论的尺度问题,即究竟如何看待具体艺术家个人的专精与博识多能。南田与石谷的故事为此又增添了一个实例。
Historians have it that after the early Qing dynasty painter Yun Shouping ＂became a friend of Wang Hui, Yun said to Wang, ＇You are the only master of [landscape] painting. I am not going to be a competitor.＇＂ Or, perhaps Yun ＂would never become second to anyone＂？ The current author holds that Yun would not compete with Wang in landscape painting because they both studied under Dong Qichang. However, Yun had made himself successful on the subject of bird and flower, especially in flowers without outline. He had profound influences on bird and flower painters like Jiang Tingxi, Hua Yan, Zhang Xiong, Zhou Xian, Zhao Zhiqian, Ren Yi and many modern artists. Again, the case of Wang and Yu raises the question for art critics： what is the criterion for evaluating an artist＇s speciality and versatility？
出处
《中国国家博物馆馆刊》
CSSCI
北大核心
2014年第9期78-84,共7页
Journal of National Museum of China
关键词
恽寿平
王翚
没骨画
同能
独诣
Yun Shouping
WangHui
painting without outline
versatility
speciality
