摘要
张怀瓘作为盛唐时期的书学理论家,同时有论顾陆张吴用笔及画之兴废等绘画理论传世。自北宋以来,有张怀瓘作《画断》之记载,由此引申出书画理论之同源,以及“神、逸、能、妙”四品自张怀瓘始等观点。然而,《历代名画记》《益州名画录》对张怀瓘画论的引用不出自体系化的《画断》。《太平广记》及后人对《画断》的引用实出自朱景玄《唐朝名画录》。“神、妙、能、逸”四品说是朱景玄在《书断》“神、妙、能”的基础上提出的,与张怀瓘无关。张怀瓘虽有论画之语,但或是与书人对比而谈笔法,或是论法书之流传而兼谈名画之兴废,始终是围绕书法理论而展开的。
As a theorist of calligraphy in Tang Dynasty,Zhang Huaiguan also had theories on the use of brush by Gu,Lu,Zhang and Wu,and the rise and fall of painting collections.Since the Northern Song Dynasty,there is a record of Zhang Huaiguan's work“The Judgment of Painting”,which leads to the view that the theories of painting and calligraphy originated from the same source,and that the four qualities of“Yi,Shen,Miao,Neng”began from Zhang Huaiguan.However,the references to Zhang Huaiguan's painting theory in Notes of Past Famous Paintings and Records of Famous Paintings in Yizhou do not come from the systematized The Judgment of Painting.The quotations of Zhang Huaiguan's paintings in Taiping Miscellany and later works are actually from Zhu Jingxuan's The Famous Paintings in Tang Dynasty.The four categories of“Shen,Miao,Neng,Yi”were proposed by Zhu Jingxuan on the basis of The Judgment of Painting,and had nothing to do with Zhang Huaiguan.Although he discusses about paintings,Zhang Huaiguan talks about either brushwork in comparison with calligraphers or the rise and fall of famous paintings in addition to the circulation of calligraphy,which always revolves around the theory of calligraphy.
作者
陈静仪
CHEN Jing-yi(School of Philosophy,Shanxi University,Taiyuan 030006,China)
出处
《美育学刊》
2023年第5期79-85,共7页
Journal of Aesthetic Education
基金
国家留学基金委(CSC)国家建设高水平大学公派研究生项目(202106010207)的研究成果。
关键词
张怀瓘
《画断》
《历代名画记》
《唐朝名画录》
书画理论
Zhang Huaiguan
The Judgment of Painting
Notes of Past Famous Paintings
The Famous Paintings in Tang Dynasty
theories of paintings and calligraphy
