{"meta":{"id":"https:\/\/api.iclient.ifeng.com\/ipadtestdoc?aid=ucms_7x6faIIsNzt","type":"doc","o":"1","documentId":"ucms_7x6faIIsNzt"},"body":{"newStatus":"1","documentId":"ucms_7x6faIIsNzt","staticId":"ucms_7x6faIIsNzt","title":"古人超前的审美","shareTitle":"古人超前的审美","thumbnail":"http:\/\/d.ifengimg.com\/w150_h106_q100\/x0.ifengimg.com\/ucms\/2020_24\/F3C3F6B215DFB64F0C156A035AEC75562D518456_w698_h392.jpg","source":"观复博物馆","author":"","editorcode":"weMedia","editTime":"2020-06-07 09:01:02","updateTime":"2020\/06\/07 09:01:02","wapurl":"http:\/\/\/\/history.ifeng.com\/c\/7x6faIIsNzt","introduction":"","wwwurl":"http:\/\/\/\/history.ifeng.com\/c\/7x6faIIsNzt","commentsUrl":"ucms_7x6faIIsNzt","commentCount":0,"text":"
近些年我们常谈审美,也很重视审美的提升。但审美是种感觉,很多时候难以用语言形容,也很难让对方明白。<\/p>
马未都先生说过,中国式审美可分为四个层次: 艳俗、含蓄、矫情、病态,呈金字塔结构。<\/p>
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清雍正 粉彩麻姑献寿折沿盘<\/p>
观复博物馆藏<\/p>
绝大多数人都处在艳俗美这个层次。就如彩瓷一样,很多人都能看懂画的是什么,以色彩的堆积来最大可能接近现实,让人一看就直呼“漂亮”。但漂亮本身就是个俗词,不轻不重,适用于对任何事物的表达。<\/p>
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北宋 汝窑洗<\/p>
观复博物馆藏<\/p>
单色瓷就不一样了,只用一种颜色,不喧不闹,沉静内敛。如大名鼎鼎汝窑瓷器,把含蓄之美发挥到了极致,难怪成为宋徽宗的御用之物。<\/p>
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1945年 陈炳昌《喜居陋巷》(正面)<\/p>
波士顿美术馆藏<\/p>
“八破图”便是矫情。“八”为虚数,它是各种残缺的东西加在一块来构图,形成“抱残守缺”之美。<\/p>
但作为最高层次的病态美是什么样,让我们在古代文物中去寻求答案。<\/p>
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瘿木(局部)<\/p>
观复博物馆藏<\/p>
病态美中,首先表述的便是瘿木。“瘿”从其部首来看就是一种病态。瘿木不特指某种木材,而是树木生病长瘤,身上出现很多密密麻麻的小疙瘩。中国古人至少在宋代就颇喜欢这种木料,直至明清。<\/p>
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黄花梨(局部)<\/p>
观复博物馆藏<\/p>
其实它和黄花梨的感觉类似。黄花梨木材上也会有很多疙瘩,谓之“树疖”。但瘿木与黄花梨的树疖与一般的木材不同,他们的树疖不松动。我觉得人们刚开始选用这种木材时,原想着不要带树疖的,但是这种木材本身树疖密布,如果只用不带树疖或者去掉树疖,那么就没有大料,加之这种树疖不松动,能与周围连成一体,故而久而久之,便化被动的无奈为主动的欣赏, 称这种树疖为“可爱之鬼面”。<\/p>
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明晚期 紫檀霸王枨瘿木面圆腿方桌<\/p>
观复博物馆藏<\/p>
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明晚期 紫檀霸王枨瘿木面圆腿方桌(桌面)<\/p>
观复博物馆藏<\/p>
利用这些病态木料做的家具略有多见,除了黄花梨,瘿木一般只作为面心,周围配有简洁的木材。一繁一简,相得益彰。<\/p>
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清乾隆 仿扎古扎雅木碗<\/p>
观复博物馆藏<\/p>
除了这些天然形成的病态,古人还试着去制造病态。比较著名的就是扎古扎雅木碗。扎古扎雅为藏语桃树的音译。桃树也是多枝多瘤,藏族地区喜用这种材料去做碗。<\/p>
<\/p>
清乾隆 仿扎古扎雅木碗(局部)<\/p>
观复博物馆藏<\/p>
随着中国瓷器技术的发展,尤其到了雍正乾隆时期,仿生瓷技术达到炉火纯青的程度,喜用瓷器仿动物形状,或者是其他材质的物件。仿扎古扎雅木碗即是在这种背景下出现的。<\/p>
<\/p>
宋 哥窑贯耳瓶<\/p>
故宫博物院藏<\/p>
<\/p>
宋 哥窑贯耳瓶(局部)<\/p>
故宫博物院藏<\/p>
哥窑瓷器也是一个病态美的典范。我们可以看到它身上交错分布的线条,外行人谓之“碎了”。<\/p>
<\/p>
宋 哥窑胆式瓶<\/p>
故宫博物馆藏<\/p>
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宋 哥窑胆式瓶(局部)<\/p>
故宫博物馆藏<\/p>
其实并不是碎了,而是瓷器本身在烧造时由于胎和釉的膨胀系数不一致造成的,即所谓的开片。这本身是烧瓷器的缺陷,很多元代之前的瓷器都有开片,只不过哥窑的开片更为明显,黑黄交错。 古人接受它的这种缺陷,赋予这种哥窑瓷器的开片为“金丝铁线”,四字非常形象确切表述它开片的颜色,以及古人对它的喜爱。<\/p>
<\/p>
明永乐 青花花卉锦纹双耳扁瓶<\/p>
故宫博物院藏<\/p>
<\/p>
明永乐 青花花卉锦纹双耳扁瓶(局部)<\/p>
故宫博物院藏<\/p>
永宣时期,青花料多用苏麻离青。此料在烧造之后,纹饰晕散,多现锡光斑。这种料的局限性是很大的,最重要的就是很难画人物,所以我们现在看到永宣的人物画青花瓷器是比较罕见的。<\/p>
<\/p>
明永乐 青花锦地花卉壮罐<\/p>
故宫博物院藏<\/p>
<\/p>
明永乐 青花锦地花卉壮罐(局部)<\/p>
故宫博物院藏<\/p>
但是后来人们试着去接受这种青花料所绘纹饰的缺陷,以另外的眼光去欣赏它, 便觉它有中国水墨画的风采。<\/p>
<\/p>
清乾隆 青花波斯锦地纹壮罐<\/p>
观复博物馆藏<\/p>
乃至到了雍正乾隆时期,甚至去刻意仿造苏麻离青的青花效果。这个时候已经没这种青花料了,但是我们可以看到它们的纹饰上有明显笔触的感觉。所以不难得出,这个时候苏麻离青的那种晕散和锡光斑已经成为了一种审美点。<\/p>
<\/p>
北宋 赵佶绘《并书祥龙石图卷》<\/p>
故宫博物院藏<\/p>
北宋末年,进献宋徽宗的花石纲,即太湖石,也是病态美的代表。古人对漂亮的太湖石总结四个字: 瘦、皱、漏、透。这四个字也是说明病的程度,全部达到了,说明“病入膏肓”了。但是这样的石头成为了雅石,装衬文人空间,难有出其右者。<\/p>
<\/p>
清 朱耷绘《枯木寒鸦图》<\/p>
故宫博物院藏<\/p>
<\/p>
清 朱耷绘《枯木寒鸦图》(局部)<\/p>
故宫博物院藏<\/p>
如果你看到有人或者动物天天翻白眼,你什么感觉?几乎一大半都会觉得这是有病。<\/p>
<\/p>
清 朱耷绘《芦雁图》<\/p>
故宫博物院藏<\/p>
<\/p>
清 朱耷绘《芦雁图》(局部)<\/p>
故宫博物院藏<\/p>
朱耷的画大多如此,无论是鸟、鹿、鱼还是鸭子等都是白眼冲天。这在朱耷之前的任何动物画中是不见的。朱耷在经历特殊的遭遇下开创一个白眼冲天的病态书画之美。<\/p>
文物的包罗万象已把四层审美涵盖其中,最高层次的 病态美远在千年之前就被古人奉为经典,且不断流传。<\/p>
它来喽~<\/p>
<\/p>
龙泉青瓷传统工艺烧制,飞青装饰,纯银茶漏,龙纹杯把,观字底款。<\/p>","img":[{"url":"http:\/\/d.ifengimg.com\/mw640_q100\/x0.ifengimg.com\/res\/2020\/FFC659FF6257205C47F9B52E987F1A378E944A3B_size63_w927_h708.jpeg","size":{"width":"640","height":"488"}},{"url":"http:\/\/d.ifengimg.com\/mw640_q100\/x0.ifengimg.com\/res\/2020\/1F6392D59B344FA77529C8225CEBB7B86BF5ED9B_size748_w975_h649.png","size":{"width":"640","height":"426"}},{"url":"http:\/\/d.ifengimg.com\/mw640_q100\/x0.ifengimg.com\/res\/2020\/CD8C8AB3DFFA8DA9E27276C01188A269BAEC4F8C_size24_w600_h313.jpeg","size":{"width":"600","height":"313"}},{"url":"http:\/\/d.ifengimg.com\/mw640_q100\/x0.ifengimg.com\/res\/2020\/ABB471E8D9BF118157454DE4028E0DEFB6E58C6A_size243_w1080_h964.jpeg","size":{"width":"640","height":"571"}},{"url":"http:\/\/d.ifengimg.com\/mw640_q100\/x0.ifengimg.com\/res\/2020\/0130443D59A86353FBE6773DD29A91C12A4E2654_size113_w1038_h909.jpeg","size":{"width":"640","height":"560"}},{"url":"http:\/\/d.ifengimg.com\/mw640_q100\/x0.ifengimg.com\/res\/2020\/EE4E77B26B4933486D7E6335736E86F6EC23937C_size27_w800_h533.jpeg","size":{"width":"640","height":"426"}},{"url":"http:\/\/d.ifengimg.com\/mw640_q100\/x0.ifengimg.com\/res\/2020\/5F71B03E73AED3BDCC754DE6A7BFD52459B44F22_size39_w800_h533.jpeg","size":{"width":"640","height":"426"}},{"url":"http:\/\/d.ifengimg.com\/mw640_q100\/x0.ifengimg.com\/res\/2020\/353AB7E14DBDEF0BB94B28D7637E3A59D6B0E2D1_size46_w1024_h683.jpeg","size":{"width":"640","height":"426"}},{"url":"http:\/\/d.ifengimg.com\/mw640_q100\/x0.ifengimg.com\/res\/2020\/7DC0A17731D0D96E5E7AE7599852A85ED566B344_size86_w1024_h683.jpeg","size":{"width":"640","height":"426"}},{"url":"http:\/\/d.ifengimg.com\/mw640_q100\/x0.ifengimg.com\/res\/2020\/75911A73253FF327C7FDE0BFA86EE83AE559B8BE_size33_w539_h709.jpeg","size":{"width":"539","height":"709"}},{"url":"http:\/\/d.ifengimg.com\/mw640_q100\/x0.ifengimg.com\/res\/2020\/832EA6FC96D1901B00D30DA3207D9E18B31D01FA_size28_w513_h474.jpeg","size":{"width":"513","height":"474"}},{"url":"http:\/\/d.ifengimg.com\/mw640_q100\/x0.ifengimg.com\/res\/2020\/CDCD318C36A1C6F4F3668C5CCDD5CC562216B759_size26_w536_h650.jpeg","size":{"width":"536","height":"650"}},{"url":"http:\/\/d.ifengimg.com\/mw640_q100\/x0.ifengimg.com\/res\/2020\/C87DD5B709036CD506EB870770E7F6097AD77069_size459_w691_h672.png","size":{"width":"640","height":"622"}},{"url":"http:\/\/d.ifengimg.com\/mw640_q100\/x0.ifengimg.com\/res\/2020\/90BFE08B326A84F89EB2D00E492D8CB3951AAC97_size46_w544_h644.jpeg","size":{"width":"544","height":"644"}},{"url":"http:\/\/d.ifengimg.com\/mw640_q100\/x0.ifengimg.com\/res\/2020\/38ECAC64F52A06BD26B900BAA9AB263F3FDA6470_size684_w708_h682.png","size":{"width":"640","height":"616"}},{"url":"http:\/\/d.ifengimg.com\/mw640_q100\/x0.ifengimg.com\/res\/2020\/F04C2DF71AD591B1C4A4613E8598C006E64A2877_size53_w621_h714.jpeg","size":{"width":"621","height":"714"}},{"url":"http:\/\/d.ifengimg.com\/mw640_q100\/x0.ifengimg.com\/res\/2020\/A24850615D9506D5AE9DAFA3BBBF623644FF0633_size45_w637_h633.jpeg","size":{"width":"637","height":"633"}},{"url":"http:\/\/d.ifengimg.com\/mw640_q100\/x0.ifengimg.com\/res\/2020\/DF071B44040F467A139E33F0204D7E92D7236694_size64_w1080_h969.jpeg","size":{"width":"640","height":"574"}},{"url":"http:\/\/d.ifengimg.com\/mw640_q100\/x0.ifengimg.com\/res\/2020\/5EC2B5848C4D29556C4B0771D9E725F69F104DE7_size36_w1080_h452.jpeg","size":{"width":"640","height":"267"}},{"url":"http:\/\/d.ifengimg.com\/mw640_q100\/x0.ifengimg.com\/res\/2020\/015DC4B4DA1AA000B6371DE9C10F6D03314A6E68_size26_w390_h725.jpeg","size":{"width":"390","height":"725"}},{"url":"http:\/\/d.ifengimg.com\/mw640_q100\/x0.ifengimg.com\/res\/2020\/6BB0E20B3E20FA13ABA02399F9235106F21271B4_size14_w486_h510.jpeg","size":{"width":"486","height":"510"}},{"url":"http:\/\/d.ifengimg.com\/mw640_q100\/x0.ifengimg.com\/res\/2020\/4DFB1F2CA6DA56F8ED0A4CFD1473DC96E6CD3439_size35_w365_h704.jpeg","size":{"width":"365","height":"704"}},{"url":"http:\/\/d.ifengimg.com\/mw640_q100\/x0.ifengimg.com\/res\/2020\/04E208032971EFBD981E88BD1FA55D459FBFF68D_size57_w673_h545.jpeg","size":{"width":"640","height":"518"}},{"url":"http:\/\/d.ifengimg.com\/mw640_q100\/x0.ifengimg.com\/res\/2020\/01C3A57FF4FB3A6B78F2D13932855349FE91C588_size104_w1080_h1382.jpeg","size":{"width":"640","height":"818"}}],"summary":"近些年我们常谈审美,也很重视审美的提升。但审美是种感觉,很多时候难以用语言形容,也很难让对方明白。马未都先生说过,中国式审美可分为四个层次:艳俗、含蓄、矫情、病","sharesummary":"近些年我们常谈审美,也很重视审美的提升。但审美是种感觉,很多时候难以用语言形容,也很难让对方明白。马未都先生说过,中国式审美可分为四个层次:艳俗、含蓄、矫情、病","commentType":"0","wemediaEAccountId":"741327","showclient":"0","shareurl":"https:\/\/ishare.ifeng.com\/c\/s\/v002GbCMj363Psjm2OJxThrswBzoNYSzHgd6pZZ29OySXFY__","praise":"0","like_num":"0"}}