摘要
上海博物馆藏梁楷款《白描道君像图卷》,是一件笔法细劲、结构精谨的线描作品,其画风与人们对梁楷“减笔画”风格的认知反差较大。史载,梁楷早期师从贾师古,技法师承李公麟“细笔”线描一脉,但其早期作品传世稀少,相关研究少见。因此,该作是目前探究梁楷早期“细笔”线描画风与师承脉络的重要视觉凭据。从装帧形制看,《白描道君像图卷》具有两宋经折装扉画的图式特征,故原初装帧应为经折装形式,创作用途或与宁宗朝太皇太后谢苏芳的去世相关;从绘画材料看,其流利劲挺的用笔与层次分明的墨色呈现,则得益于光熟纸与硬毫笔的共同作用,与梁楷使用同类材料的笔墨节奏一脉相承。本文从“师承与风格”“形制与图式”“材料与笔墨”三组关系进行探析,深入梁楷早期画风,建构起对其画风由“细笔”到“减笔”的图像认知。
The Taoist Daily in Plain Drawing Siyle of Liang Kai,collected by Shanghai Museum,features fine and vigorous brushwork and delicate composition.Its style is in sharp contrast with Liang's commonly known style of"reduced brushstrokes".According to historical records,he was a student of Jia Shigu when he was young,and learned"fine brushwork"from Li Gonglin,but it is a pity that very few of Liang's early paintings were passed down,and scarce research has been conducted in this regard.Therefore,this line drawing is of great importance in studying Liang's early"fine brushwork"style and from whom he learned this technique.In terms of binding,it was originally an accordion painting as it was consistent with features of frontpage paintings of the Northern and Southern Song Dynasties,and it is likely that the painting was created because of the death of Empress Dowager Xie Sufang during the reign of Emperor Ningzong.In terms of materials,the fluent and strong brushwork and layered ink presentation can be attributed to the use of guangshu paper and hard-haired brushes,which is the same as Liang's brushstrokes on similar materials.This article studies Liang Kai's early painting style by analyzing the relationship between"inheritance and style","forms and patterns"and"materials and brushwork",and gains an understanding of his style from"fine brushwork"to"reducedbrushstrokes".
作者
何士扬
奚凯
He Shiyang;Xi Kai(China Academy of Art)
出处
《美术》
北大核心
2025年第7期110-119,共10页
Art Magazine
关键词
白描道君像图卷
梁楷
师承
形制
材料
风格
the Taoist Daily in Plain Drawing Siyle
Liang Kai
inheritance
forms
materials
styles
