{"meta":{"id":"https:\/\/api.iclient.ifeng.com\/ipadtestdoc?aid=ucms_7zNoMcxln2X","type":"doc","o":"1","documentId":"ucms_7zNoMcxln2X"},"body":{"newStatus":"1","documentId":"ucms_7zNoMcxln2X","staticId":"ucms_7zNoMcxln2X","title":"傅雷:如何读懂黄宾虹山水笔墨?","shareTitle":"傅雷:如何读懂黄宾虹山水笔墨?","thumbnail":"http:\/\/d.ifengimg.com\/w150_h106_q100\/x0.ifengimg.com\/ucms\/2020_36\/33FCCED686633489F4F9920B222D684239B79CC2_w698_h392.jpg","source":"","author":"","editorcode":"weMedia","editTime":"2020-08-30 13:22:18","updateTime":"2020\/08\/30 13:22:18","wapurl":"http:\/\/\/\/feng.ifeng.com\/c\/7zNoMcxln2X","introduction":"","wwwurl":"http:\/\/\/\/feng.ifeng.com\/c\/7zNoMcxln2X","commentsUrl":"ucms_7zNoMcxln2X","commentCount":0,"text":"
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黄宾虹 桐君山山水<\/p>
客有读黄公之画而甚惑者,质疑于愚。既竭所知以告焉,深恐盲人说象,无有是处,爰述问答之词,就正于有道君子。<\/p>
黄公之画“不求形似”<\/p>
客:黄公之画,山水为宗,顾山不似山,树不似树,纵横散乱,无物可寻,何哉?<\/p>
曰:子观画于咫尺之内,是摩挲断碑残碣之道,非观画法也。盍 远眺 焉?<\/p>
客: 观画须远 ,亦有说乎?<\/p>
曰:目视之物,必距离相当,而后明晰。远近之差,则以物之形状大小为准。览人气色,察人神态,犹须数尺之外。今夫山水,大物也,逼而视之,石不过窥一纹一理,树不过见一枝半干,何有于峰峦气势?何有于疏林密树?何有于烟云出没?此郭河阳之说,亦极寻常之理。“不见庐山真面目,只缘身在此山中”,对天地间之山水,非百里外莫得梗概,观缣素上之山水,亦非凭几伏案所能仿佛。<\/p>
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黄宾虹 苏轼词意图<\/p>
题识:径蟠趋后崦,水会赴前溪<\/p>
客:黄公之画甚草率,与时下作风迥异,岂必草率而后见笔墨耶?<\/p>
曰:噫!子犹未知笔墨,未知画也。此道固非旦夕所能悟,更非俄顷所能辨。且草率果何谓乎?若指不工整言,须知画之工拙,与形之整齐无涉,若言形似有亏, 须知画非写实 。<\/p>
客:山水不以天地为本乎,何相去若是之远?画非写实乎?所画岂皆空中楼阁?<\/p>
曰: 山水乃图自然之性,非剽窃其形 。画不写万物之貌,乃传其内涵之神。若以形似为贵,则名山大川,观览不遑,真本俱在,何劳图焉?摄影而外,兼有电影,非惟巨细无遗,抑且连绵不断,以言逼真,至此而极,更何贵乎丹青点染?<\/p>
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黄宾虹 溪亭策杖<\/p>
夫写貌物情,据发人思,抒情之谓也。然非具烟霞啸傲之志,渔樵隐逸之怀,难以言胸襟;不读万卷书,不行万里路,难以言境界;襟怀鄙陋,境界逼仄,难以言画。作画然,观画亦然。子以草率为言,是仍囿于形迹,未具慧眼所致,若能悉心揣摩,细加体会,必能 见形若草草,实则规矩森严,物形或未尽肖,物理始终在握,是草率即工也 。倘或形式工整,而生机灭绝,貌虽逼真,而意趣索然,是整齐即死也。此中区别,今之学人,知者绝鲜,故斤斤焉拘于迹象,惟细密精致是务,竭尽巧思,欲工转拙,取貌遗神,心劳日拙,尚得谓为艺术乎?<\/p>
艺人何写?写意境、实物云云,引子而已,寄托而已。古人有云,作画之道,掇景于烟霞之表,发兴于深山之巅;掇景也,发兴也,表也,巅也,解此便可省画,便可悟画人不以写实为目的之理。<\/p>
<\/p>
黄宾虹 青山出云 题识:<\/p>
青山出气却成云,漠漠云山两不分,<\/p>
试侍云开山出色,芙蓉洗眼照秋曛。<\/p>
黄公之画“不悦人心”<\/p>
客:黄公之画,纵笔墨精妙,仍不免艰涩之感,何耶?<\/p>
曰:艰涩又何指?<\/p>
客:不能令人一见爱悦是已。<\/p>
曰:昔人有言:看画如看美人,其风神骨相,有在肌体之外者。 今人看古迹,必先求形似,次及傅染,次及事实,殊非赏鉴之法 。其实作品无分今古,此论皆可通用。一见即佳,渐看渐倦,此能品也;一见平平,渐看渐佳,此妙品也;初看艰涩,格格不入,久而渐领,愈久愈爱,此神品也,逸品也。<\/p>
观画然,观人亦然。美在表皮,一览无余,情致浅而意味淡,故初喜而终厌。美在其中,藴藉多致,耐人寻味,画尽意在,故初看平平,而终见妙境。若夫风骨嶙峋,森森然,巍巍然,如高僧隐士,骤观若拒人千里之外,或平淡天然,空若无物,如木讷之士,寻常人必掉首弗顾,斯则必神专志一,虚心静气,严肃深思,方能于嶙峋中见出壮美,平淡中辨得隽永。惟其藏之深,故非浅尝可能获;惟其蓄之厚,故探之无尽,叩之不竭。<\/p>
<\/p>
黄宾虹 小隐空山绝四邻 题识:<\/p>
小隐空山绝四邻,野云孤鹤自相亲。<\/p>
谁知一径深如许,犹有敲门看竹人。<\/p>
黄公之画“不随四王”<\/p>
客:黄公题画,类多推崇宋元,以士夫画号召。然清初“四王”,亦尊元人,何黄公之作,与“四王”不相若耶?<\/p>
曰:“四王”论画,见解不为不当,顾其宗尚元画,仍徒得其貌,未得其意,才具所限耳。元人疏秀处,古淡处,豪迈处,试问“四王”遗作中,能有几分踪迹可寻?以其拘于法,役于法,故枝枝节节,气韵索然。画事至清,已成弩末。 近人盲从附和,入手必摹“四王”,可谓取法乎下。稍迟辄仿元人,又只从皴擦下功夫,笔墨渊源,不知上溯,线条练习,从未措意,舍本求末,求为庸史,且戛戛乎难矣 。<\/p>
客:然则黄氏得力宋元者,果何所表现?<\/p>
曰:不外神韵二字,试以《层迭冈峦》一幅为例,气清质实,骨苍神腴,非元人风度乎?然其豪迈活泼,又出元人蹊径之外,用笔纵逸,自造法度故尔。又若《墨浓》一帧,高山巍峨,郁郁苍苍,俨然荆关气派,然繁简大异。前人写实,黄氏写意,笔墨圆浑,华滋苍润,岂复北宋规范?凡此取长补短风格,所在皆是,难以例举。若《白云山苍苍》一幅,笔致凝练如金石,活泼如龙蛇,设色妍而不艳,丽而不媚,轮廓灿然而无害于气韵弥漫,尤足见黄公面目。<\/p>
<\/p>
黄宾虹 仙人村坞 题识:<\/p>
仙人村坞锦为屏,鸡犬云中户自扃。<\/p>
烟火红尘俱不着,长斋绣佛礼黄庭。<\/p>
黄公之画“不似一面”<\/p>
客:世之名手,用笔设色,类皆有一定面目,令人一望而知。今黄氏诸画,浓淡悬殊,犷纤迥异,似出两手,何哉?<\/p>
曰:常人专尊一家,故形貌常同;黄氏兼采众长,已入化境,故家数无穷。常人足不出百里,日夕与古人一派一家相守,故一丘一壑,纯若七宝楼台,堆砌而成;或竟似益智图戏,东捡一山,西取一水,拼凑成幅。黄公则游山访古,阅数十寒暑,烟云雾霭,缭绕胸际,造化神奇,纳于腕底;故放笔为之,或收千里于咫尺,或图一隅为巨嶂,或写暮霭,或状雨景,或咏春朝之明媚,或吟西山之秋爽,阴晴昼晦,随时而异,冲淡恬适,沈郁慷慨,因情而变,画面之不同,结构之多方,乃为不得不至之结果。《环流仙馆》与《虚白山衔璧月明》,《宋画多晦冥》与《三百八滩》,《鳞鳞低蹙》与《绝涧寒流》,莫不一轻一重,一浓一淡,一犷一纤,遥遥相对,宛如两极。 (傅雷,中国著名翻译家、艺术评论家。原标题《观画答客问》,有删减)<\/p>
<\/p>
黄宾虹 富春秋色 题识:<\/p>
怪底眼边云树合,<\/p>
恰疑身在富春江。<\/p>
秋来常置乌皮几,<\/p>
应有岚烟扑酒缸。<\/p>
<\/p>
黄宾虹 开眼青山窄 题识:<\/p>
开眼青山窄,周身翠壁寒。<\/p>
仙人家咫尺,画卷借来看。<\/p>
<\/p>
黄宾虹 山水 款识:<\/p>
青林何蒙茸,长松出天表。<\/p>
所以蒋生径,无竹亦自好。<\/p>
<\/p>
黄宾虹 石峰<\/p>
<\/p>
黄宾虹 乱叶翻飞<\/p>
一支好笔,宜书宜画<\/p>","img":[{"url":"http:\/\/d.ifengimg.com\/mw640_q100\/x0.ifengimg.com\/res\/2020\/111F4C5C84204F0653694D5CD19C98436663BBFD_size2740_w889_h3000.png","size":{"width":"640","height":"2159"}},{"url":"http:\/\/d.ifengimg.com\/mw640_q100\/x0.ifengimg.com\/res\/2020\/A233B8049DEEE336ED90C8AB62F3D772A4D3D275_size1290_w600_h1863.png","size":{"width":"600","height":"1863"}},{"url":"http:\/\/d.ifengimg.com\/mw640_q100\/x0.ifengimg.com\/res\/2020\/8E28C6378BE3CD843C2F79A535B62C9D9909E6B9_size1130_w600_h1374.png","size":{"width":"600","height":"1374"}},{"url":"http:\/\/d.ifengimg.com\/mw640_q100\/x0.ifengimg.com\/res\/2020\/50A94026DA6B8DD8F50CCDA309B2B5C52D70D459_size858_w600_h1304.png","size":{"width":"600","height":"1304"}},{"url":"http:\/\/d.ifengimg.com\/mw640_q100\/x0.ifengimg.com\/res\/2020\/E3C58CC826417A9606DDFF5191B7153C2CB0E8F1_size604_w600_h882.png","size":{"width":"600","height":"882"}},{"url":"http:\/\/d.ifengimg.com\/mw640_q100\/x0.ifengimg.com\/res\/2020\/1E3F7FE536DB0BA57ACC957F8E0EB818B6AA63B5_size831_w600_h1097.png","size":{"width":"600","height":"1097"}},{"url":"http:\/\/d.ifengimg.com\/mw640_q100\/x0.ifengimg.com\/res\/2020\/0AA678F56059928B5F2E64C466DC04CF6750ABA6_size870_w600_h1668.png","size":{"width":"600","height":"1668"}},{"url":"http:\/\/d.ifengimg.com\/mw640_q100\/x0.ifengimg.com\/res\/2020\/BA562ED6CB1CBE59F09686106892B119B722FECE_size648_w600_h899.png","size":{"width":"600","height":"899"}},{"url":"http:\/\/d.ifengimg.com\/mw640_q100\/x0.ifengimg.com\/res\/2020\/43A2FAAA00D1527325FAC6901C1349C9F0D881C7_size888_w600_h1528.png","size":{"width":"600","height":"1528"}},{"url":"http:\/\/d.ifengimg.com\/mw640_q100\/x0.ifengimg.com\/res\/2020\/E766C331452382125869DC2501D0E7B6DC633847_size1139_w600_h1520.png","size":{"width":"600","height":"1520"}},{"url":"http:\/\/d.ifengimg.com\/mw640_q100\/x0.ifengimg.com\/res\/2020\/4B109161DE68696AFA5BB180FD59FC70AC6E45BC_size1052_w600_h1826.png","size":{"width":"600","height":"1826"}}],"summary":"黄宾虹桐君山山水客有读黄公之画而甚惑者,质疑于愚。既竭所知以告焉,深恐盲人说象,无有是处,爰述问答之词,就正于有道君子。黄公之画“不求形似”客:黄公之画,山水为","sharesummary":"黄宾虹桐君山山水客有读黄公之画而甚惑者,质疑于愚。既竭所知以告焉,深恐盲人说象,无有是处,爰述问答之词,就正于有道君子。黄公之画“不求形似”客:黄公之画,山水为","commentType":"0","wemediaEAccountId":"4607","showclient":"0","shareurl":"https:\/\/ishare.ifeng.com\/c\/s\/v002pJsCTyQmUN0yNP6RdAstYuquW0K5Ry5q2il461--8nOs__","praise":"0","like_num":"0"}}