摘要：写意作为一种绘画手法，在中国绘画体系中有着悠久的历史传统，它是一个纯粹生发于中国传统艺术与传统文化中的概念，它的合法化路径离不开文人画地位的确立，这两对息息相关的概念密不可分。文人画作为一种特殊社会阶层的价值取向与审美趣味标准，参与其中的文人画家们因其特定的政治身份与文化身份，以强悍的话语权将它推向中国传统绘画中不可撼动的地位。自此，写意也同样成为极为重要的概念。然而自中国传统绘画迈入近代，文人画被解构了元叙事属性，历经20世纪二三十年代中国画改造运动历史语境后，写意一度被选择为不合时宜的被隐匿、被规避。
本文试图以当下“写意精神”热现象为切入点，梳理写意概念在中国传统艺术发展中的来源脉络，通过与其密不可分地文人画概念的合法化历程分析，简述在对各种艺术类型实践热潮过后的当下，写意逐步从一种绘画手法被上升为一种理性的审美，并且朝着精神性方法论建构层面发展的价值。
关键词：“写意精神”重提、文人画与写意、笔墨观念、群体想象、价值建构
引言
在中国进入现代社会之前，知识谱系从来都不是面向所有人的，它属于那些有着深厚文学修养、师承关系的人才能拥有的社会资源。而公共社会体系更多依靠的是亲缘性所维系的家庭与宗族、氏族，来保持着它的稳固特性，他们所拥有的更多是由土地与亲缘性所带来的， 这既维护了知识分子的稀缺特性，也将知识与文化圈进了拥有最多社会资源的上层精英阶层。当20世纪的中国现代化进程被迫以战争为开端，这种稳固的特性被从外而内的，受到强烈的冲击。在华夏五千年的文明中，从来没有哪一个时期像20世纪的中国那样，受到了如此大的撼动。
“写意精神”重提
进入21世纪，伴随着中西方文化之间的交锋与交融，在各种艺术理论、哲学思想浪潮的碰撞沉淀中，学界开始频频重提“写意精神”。关于“写意精神”的重新提出与讨论，不仅限于绘画领域，诗歌、电影、建筑、甚至戏剧等多个学科也都在进行。工笔画中写意研究（专题硕士博士论文数量呈逐年上升趋势）、写意雕塑理论（吴为山提出并进行实践）、2016年北京当代中国写意油画研究院的创办（基本逐年举办写意油画作品展览），在美术界随着这一词汇的不断提及，尤其是在“写意油画”提出后，有关它的讨论热度越来越高涨。
之所以说“写意精神”的重提，这与写意这个在时间线上具有漫长人文传统的概念有关。在各种尝试中能够看到，有关“写意精神”的表述与概念界定的模糊性与不确定性，使它更像是一种“约定俗成”并且不乏争议的概念。薛永年曾在《谈写意》一文中指出，“写意，体现了中国艺术精神的一个重要方面……从一定意义上说，讲求写意也就是讲求中国艺术的民族特色”[1]。这种观点是较为典型被大多数人所认可，并形成的一种关于写意“约定俗成”式样的看法。当然，关于写意这一绘画手法或者说绘画观念的争议，画家、美术史论家的论述中也曾表达过不同的观点。清代郑燮说：“殊不知写意二字误多少事。欺人瞒自己，再不求进，皆坐此病，必极工而后能写意，非不工而逐能写意也。”[2]348美术史学家高居翰认为“‘写意’手法的滥用,广义地来说,那些用相对疏松、疾促的笔法绘制的简陋作品的泛滥是清初之后十七世纪以后中国画衰落的一个重要——也许是最重要的——原因。”[3]这一概念的争议其实是可以理解并符合历史语境发展时期的。
在目前的研究文本中，它在工笔画、油画等不同绘画类别中被重新提出的缘由，从现象上来看大体存在以下几个出发点：1、这是针对近年来大型展览所出现的中国画制作化（工笔绘画数量远大于写意绘画、工笔绘画的制作化倾向）、油画照片化（油画对照照片进行创作）倾向，与学院教育体系所存在的根本性龃龉所提出的精神性回归；2、这是为对抗当今画坛所流行的图像化与观念化的泛化；3、这是在新时期文化自信与文化复兴的大背景下，传统艺术价值在时代背景下所进行的理论价值重构的策略尝试。
写意与文人画
彭锋指出，写意一词在词源上来说，有“直抒胸臆或者披露心迹的意思”[4]，它早在先秦时期的《战国策·赵策二》中就有记载。但是写意作为独立的绘画概念出现，是在元代汤垕《画鉴》中写“观画之法”时所提出的：“若观山水、墨竹、梅兰、枯木、奇石、墨花、墨禽等，游戏翰墨，高人胜士寄兴写意者，慎不可以形似求之。先观天真，次观笔意，相对忘笔墨之迹，方为得之。”[5]170汤垕以文人士大夫的角度讨论墨戏绘画不能以形似与否去评判，而是将写意与文人的审美意趣相联结。
“文人画”是中国传统绘画史中非常重要的概念，作为一种特殊社会阶层的价值趋向与审美趣味标准，直至今天它仍然有着深远的影响。在文人画发展的漫长历史进程中，形成了逐步以笔墨为媒介，追求抒写胸中逸气与真意、超脱物外的精神境界与审美理想的稳固体系。参与其中的文人画家们因其特定的政治身份与文化身份，大多既注重个人的品德修养，又有着诗书画三绝的志趣追求。他们在三绝之上花费了大量的时间，投注了极高的兴趣，有些有着极为全面的技术功力，比如李公麟（1049年—1106年）、赵孟頫（1254年—1322年）；有些又因为个人无可撼动的文人身份对文人画强势介入，并致使文人画整体笔墨程式与视觉图式产生了倾向性变化，比如苏轼（1037年—1101年）；而董其昌（1555年—1636年）“则可说是一个将文人画职业化的代表”[6]107。
谢赫关于绘画品评体系中以“气韵生动”为首，以此将画家分品评价。唐代张彦远采取画家社会身份与人格品性为以人品画的策略，呈现在他史传体着作《历代名画记》中。这与《古画品录》《续画品录》的品评体不同，张彦远在其中“所列的三百七十位画家中，有一百二十余人是表明特殊政治身份的，他们或是帝王，或是贵戚，或是官吏，或是高士，占总数三分之一。”[7]72方闻在他的《心印中国书画风格与结构分析研究》一书序言中指出，在11世纪的中国，世袭的门阀贵族被文人士大夫所取代，成为政治与文化的主流与主导力量，苏轼“代表了强大的新兴文人艺术家的审美观，对以后几个世纪的艺术家有着深远的影响。”[8]4而董其昌深受禅宗影响的艺术思想，以“南北宗”说尊王维为文人画之始，以历史的、纵向的角度，以“图式——价值——趣味与山水画史的整体关系”[9]分析模式，区别于史论家们以分析同时代画家风格特点的方法，将文人画的地位逐渐推至主流。从文人画的参与者与助推者可以见得，社会身份是知识生产者手握最为有力的话语权，这种权力将一种趣味，逐渐推至拥有无法撼动地位的表达方式。中国画自此因文人画身份的合法化地位确立，而基本以文人画统摄了传统绘画。
文人画与写意
在文人画这种充满文人意趣与审美的绘画类型中，“特别强调了写意的表现，以至于使笔墨自身的魅力超脱了物象塑形的层面”[10]。写意生发于中国传统文脉之中，在字意上来看，是一种对毛笔、墨、纸等绘画媒介的充分运用相结合，所展现的“不求形似”、直抒胸臆的简括绘画手法。写意的手法看似简略，但它经过创作者富有笔力的笔墨书写，结合自身进行对所绘物象高度的抽象与概括，追求“不求形似”的个人自由情感的抒发与表达。提及写意，无法规避的是中国传统文化（孔孟儒学、老庄道学、以及两汉时期传入中国的佛学）中生发出的中国传统艺术精神——“以孔子、孟子为代表的儒家美学，以老子、庄子为代表的道家美学，以及以六祖惠能为代表的佛教禅宗美学”[11]——的影响。历数中国绘画史上的理论家、品评家与思想体系，传统的老庄思想、魏晋玄学、谢赫的六法、唐代张彦远、苏轼、赵孟頫的“以书入画”、汤垕《画鉴》中的写意理论、明代思想家李贽、董其昌“南北宗”论，以及文人士大夫“人格迹化”（人品的高洁与画品的高妙相辅相成）的推动……对写意在中国传统绘画体系中逐渐占领正统的传承地位有着深刻的渊源。可以说，“文人画”与写意这两组概念密不可分，写意这一理念又促进了笔墨观念的完善与成熟。从五代荆浩到宋末元初，文人画家集团因个人绘画技法所限，开始逐渐有意识地选择更为擅长的笔墨书写为表达自身精神境界的趣味追求。这一追求从最初的无意识选择直至发展为后来的有意识的自觉，强调了书写性对整个绘画体系的作用。写意被饱有身份话语权力的文人集团，以采用个人心性的策略，选择为绘画表达最为直观的手法。他们牢牢掌握着“话语权力”，并建立起了文人画的品评标准，“不求形似”、以书法入画，将笔墨表现与笔墨趣味当做自我愉悦的渠道。明代徐渭（1521年—1593年）说：“迨草书盛行，乃始有写意画。”[12]他将写意画直接与草书的盛行相连接，并指出书法对绘画风格影响的重要作用。因其本身在书法上的天才技艺，在他的大写意花鸟作品中有着酣畅淋漓的气韵与意趣所在。张晓凌认为徐渭“以“泼墨”的方式，彻底摆脱了物象的纠缠，将笔墨提升至写意与‘心性’的高度”[13]。但徐渭这样的天才画家少有，他将笔墨观念与他的绘画结合的严丝合缝，而这并不是所有人都能做到的。这也就导致了如前所述郑板桥与高居翰对于写意观点的争论症结所在。前人的绘画图式，被总结归纳为详细的绘画方法，以程式化的点、线与组合排列方式，用于所面临的绘画母题之中。除却有着鲜明艺术理念追求的个别天才艺术家之外，大多人都被囿于固定的图式之中，这种局面直到近代中国的到来才有了更为直观的改变。
被隐匿的
近代中国在经济上、政治上、军事上的动荡与变化，封建王权被倾覆，新兴教育体系的草创对师徒传承方式的替代，艺术市场与绘画市场（展览）的开拓，一系列的社会结构变革，导致了传统文人士大夫依附王权的自身身份的改变，传统中国文人画岌岌可危。在20世纪二三十年代轰轰烈烈的中国画改造运动中，陈独秀的“美术革命”以革命派的姿态坚持以西方写实主义全盘西化中国绘画，1917年康有为发表《万木草堂藏画目序》指出以西方绘画改良中国绘画（可能是他所擅长的书法使他并没有选择对中国画的全盘否定，而采取了稍显温和的改良之说），蔡元培的檄文《以美育代替宗教》将艺术教育的最终导向公共化的理想化倾向，在艺术教育公共化（蔡元培）、艺术“致用”功能（鲁迅）的理念辨析，内部和外部、东方与西方、写意与写实、新与旧的，改造传统中国画的策略与实践过程中，传统文人画的价值观念基本终结。徐悲鸿以中国画固有的书法式线条和水墨材质，结合西方写实造型体系；林风眠借鉴西方现代主义绘画中的色彩与造型观念开创“彩墨画”；潘天寿以多变、齐险、严谨的构图将花卉与山水在改造和发展传统文人画上的艺术实践；鲁迅的“美术之用”；他们的审美理念与艺术思想，在新中国成立之后的艺术教育体系中也饱有着强大的生命力。
在这一系列价值观念的中西思辨中，带有强烈中国传统文化与传统艺术精神式样的表现手法——写意，随着家国的救亡图存背景，虽然备受冲击，但仍然占有强劲的话语地位，而且并不影响有些人的坚持与固守。石涛热、吴昌硕金石意味的花鸟、黄宾虹的山水画……他们仍然展现着中国绘画迷人的魅力与活力。
一般情况下，画家对于绘画的态度（“游戏”“遣兴”“精工近苦”等）和作品对观众与对画家的功能作用（“畅神”“成教化、助人伦”）是基本平衡的，但在以苏轼为代表的一派传统文人墨戏画中，是“‘功能’从属于‘态度’”[14]；而近代的中国画则是“‘态度’从属于‘功能’”[15]。严善錞认为“近代中国美术的价值学，实际上也就是它的功能学，这在1949年以后的中国画历史中显得尤为突出”[16]。而且这种功能学使近现代美术呈现出了势不可挡的大众化倾向，这之后出现了更为多元的价值观念与艺术理念在新兴的教育体系中得到了新的实践机遇。
应该说，写意是在近现代教育体系中被逐渐隐匿的。在消解掉文人画的图式基础、价值取向、文人身份后，写意被隐匿在历史语境中。在此期间，中国传统绘画本身的存在局面堪忧，更遑论与文人画息息相关密切相连的写意，甚至在一段时期内它作为被批判的对象，被当做不合时宜的手法而被规避。新中国成立初期“革命历史画”（主题性美术创作）、“新年画运动”（结合喜闻乐见的大众化题材、日常生活场景进行改造中国画中人物画的一个路径）、“毛泽东诗意山水”（以傅抱石为代表，结合毛泽东诗词以革命浪漫主义与革命现实主义相结合的方式，改造中国画中山水画的一个路径）迎来了黄金时期，此时属于中国传统绘画美学概念的写意，属于被政治话语所改造的存在；而“文化大革命”（1966—1976）美术的“三结合体制下的美术创作”又是双向封闭的历史局面，被改造的中国画一度失语与边缘化；改革开放时期（1976—1989）通过形式探索追寻中国美术的现代化之路，大家忙着接受西方、学习西方、拿来西方，进行各种形式风格的试验，1985年《江苏画刊》第七期刊登的李小山《当代中国画之我见》引起的极度震荡，对本身已经边缘化的传统中国画界更是一种刺激；直至“全球化语境”（1990—至今）当代美术出现“社会转型与文化身份”表征后，这种情况才发生扭转。
被选择的
全球经济体之间各链条的紧密联结，裹挟着充满西方意识形态的后现代文化、消费文化、大众文化、视觉文化等等纷繁的后现代理论体系与知识谱系，在时隔一个世纪之后，再一次从文化层面对我们发起冲击。这一次的冲击不再以激烈地革命者的姿态，而是以温和的、潜移默化地渗透为主要方式。不同观念不知不觉被隐藏在一切看似美好的文化产品与视觉图像、影像之下，影响着我们方方面面的体悟与感受。然而对于历史来说，总是会留下那些值得留下的。大浪淘沙泡沫褪去，此时的写意手法，却因传统文化自20世纪开始避无可避的自我选择，丧失了大部分赖以生存的客观条件，接受过高等美术教育的人也不一定拥有着对写意的切身体悟。毛笔不再是每一个受过教育的人日常所必备的书写工具，中国画经过漫长时间段的自主选择也好、自我规避也罢，已经生长出更多元的面貌，题材扩充、表现手法扩容，能够充分运用自如写意手法的画家不多，更多的是艺术创作者与制作者。
早在1985年，中国艺术正处于西方现代艺术迎头痛击的局面时，潘公凯就曾预测：“不远的将来，情况就会发生变化：一是中国对西方现代艺术有了更切实的了解并经过了一个阶段的实践尝试；二是中国的经济实力有所增强而提高了中国在世界上的地位；三是西方人对中国文化由现在的无知漠视到逐步理解其中的深度与份值；四是西方人对精神生活的平衡有了进一步深入的需求——概括地说就是中西方在文化发展上的时间差将逐步缩小的情况下，以‘回归自然’，这个既古老又现代的观念为旗帜的中国绘画艺术，蔓延风靡而成一种更新的世界潮流，或许未必是一种无稽之谈吧？”[17]就现在的状况来看，潘公凯在将近40年前所预测的中国艺术的面貌，在如今，基本每一条都成为当下可见的事实与现实。中国的经济腾飞，国家国际地位、国际形象、国际影响力的大幅提升，在我们面对西方艺术、西方美学体系，进行了各种艺术类型实践热潮的几十年之后，终于重新建立起来将自己本来面貌展现给别人看的自信与诉求语境。这种面貌不是臆想出来的样貌，而是自我意识觉醒的自发的选择。此时，写意这个生发于中国传统文化之中的概念，逐步从一种绘画手法被上升为一种理性的审美，并且朝着精神性方法论建构的层面，发展价值，焕发出新的生机。而“写意精神”这一有着深厚文化渊源的中国艺术概念，被选择为回应所面临问题的有力策略之一。
有学者认为，写意在今天的价值重构过程，误解了写意概念的原有本意，它不再仅限于文人画中的书写性入画、相对工笔设色画法“不求形似”的“点簇”画法，出现了把写意理解为主体主观表现的涵义。但这种误解更像是，思想浪潮的激烈碰撞褪去，提及中西问题不再如此充满情绪化的学界，对当代中国的艺术发展实践呈现出地一种更为温和的形象，由此生成的一种群体想象概念。现今艺术家、批评家与艺术活动参与者，能够更为冷静地看到在后殖民主义、西方话语霸权的冲击中，所面临的自身文化身份与当代审美价值建构的问题。“写意精神”观念的泛化现象，写意已经不再单单属于中国画，它被多渠道使用，是艺术家们、当下文化界、理论界对自身话语品评建构的急切渴求，是对呈现出的自我审美理论缺失困境的应对，自此，写意才逐渐焕发出属于价值理论层面的崭新生命活力。从根本性上来讲，这一现象与中国绘画精神的艺术参与者的群体想象有关。这种想象体现着艺术家自身在新时期文化复兴的大背景下，对于传统文脉的解读所进行的当下理论价值重塑的迫切需求，是试图建构“写意精神”作为方法论的合法性与完整性尝试，是如何建构属于根植于自身知识谱系中的品评体系以及现代性审美价值的问题。
如何将它从传统中转换出新的当代方法论价值，需要有着科学态度进行考据与理论论证。而不是以模棱两可的概念进行文字堆叠，这会解构掉将“写意精神”进行美学概念提炼的有效性。如何以平等姿态发出属于自己文化的声音，是艺术界参与者们亟待进行甚至正在践行的课题。在这个时间节点，回望自身文化传统与艺术传统，写意这一充满着传统文化根植于肥沃土壤的概念，被广泛地通过艺术群体的共同参与者所选择，并被建构出具有当代审美意味的精神性特质的局面便不难理解。
注释：
[1]薛永年.谈写意[J].《国画家》，2006(02).
[2][5]李来源、林木编.中国古代画论发展史实[M].上海：上海人民美术出版社，1997.4.
[3][美]高居翰，江雯译.写意——晚期中国画衰落的一个原因[J].湖北美术学院学报，2004.03.30.
[4]彭锋.什么是写意[J].美术研究,2017(2).
[6][7]严善錞.文人与画——正史与小说中的画家[M].南京：江苏教育出版社,2005.9.
[8][美]方闻着,李维琨译.心印:中国书画风格与结构分析研究[M],上海:上海书画出版社,2016.08
[9]严善錞.董其昌提出“南北宗”说的心理动机及历史效应[J].浙江美术学院学报《新美术》,1989(1).
[10]刘佳妮.文人画的缘起及其书法对于绘画写意的推助作用[J].南京艺术学院学报(美术与设计),2019.07.15.
[11]彭吉象.比较艺术学“跨文化研究”及其运用[J].艺术评论，2020(10).
[12][明]徐渭.徐渭集[M].北京:中华书局,2017.2:573.
[13]张晓凌.中国美术现代性的起源：从审美现代性到政治现代性 [J].美术观察,2020(12).
[14][15][16]严善錞.文人与画——正史与小说中的画家[M].南京：江苏教育出版社,2005.9:322.
[17]潘公凯.限制与拓展——关于现代中国画的思考[M].杭州:浙江人民美术出版社，1997.3:88.
（作者单位：山东美术馆学术研究部）
Abstract: freehand brushwork, as a painting technique, has a long historical tradition in the Chinese painting system. It is a concept purely derived from Chinese traditional art and traditional culture. Its legalization path is inseparable from the establishment of the status of literati painting. These two closely related concepts are inseparable. Literati painting as a special social class value orientation and aesthetic taste standard, the literati painters who participated in it pushed it to an unshakable position in Chinese traditional painting with a strong voice because of their specific political and cultural identity. Since then, freehand brushwork has also become a very important concept. However, since Chinese traditional painting entered modern times, literati painting has been deconstructed into the meta narrative attribute. After the historical context of the transformation movement of Chinese painting in the 1920s and 1930s, freehand brushwork was once selected as inappropriate, hidden and avoided
This paper attempts to take the current hot phenomenon of "freehand brushwork spirit" as the starting point, sort out the source context of the concept of freehand brushwork in the development of Chinese traditional art, and briefly describe the value of freehand brushwork gradually rising from a painting technique to a rational aesthetics and developing towards the construction level of spiritual methodology through the analysis of the legalization process of the concept of literati painting
Key words: "freehand brushwork spirit", literati painting and freehand brushwork, pen and ink concept, group imagination, value construction < / P > < p > < br / > < / P > < P style = "text indent: 2em;" > Introduction < / P > < P style = "text indent: 2em;" > Before China entered the modern society, the knowledge pedigree was never for everyone. It belongs to the social resources that can only be owned by those who have deep literary cultivation and teacher relationship. The public social system relies more on families, clans and clans maintained by kinship to maintain its stable characteristics. What they have is more brought by land and kinship, which not only maintains the scarcity of intellectuals, but also circles knowledge and culture into the upper elite with the most social resources. When China's modernization process in the 20th century was forced to start with war, this stable characteristic was strongly impacted from the outside to the inside. In China's 5000 year civilization, no period has been so shaken as China in the 20th century
"Freehand brushwork spirit" revisited < / P > < P style = "text indent: 2em;" > In the 21st century, with the confrontation and blending between Chinese and Western cultures, in the collision and precipitation of various artistic theories and philosophical thoughts, the academic circles began to frequently mention the "freehand brushwork spirit". The re proposal and discussion of "freehand brushwork spirit" is not limited to the field of painting, but also in many disciplines such as poetry, film, architecture and even drama. The study of freehand brushwork in meticulous painting (the number of special master's and doctoral theses is increasing year by year), the theory of freehand sculpture (proposed and practiced by Wu Weishan), and the establishment of Beijing contemporary China freehand Oil Painting Research Institute in 2016 (basically holding freehand oil painting exhibitions year by year). With the continuous mention of this word in the aesthetic circle, especially after the proposal of "freehand oil painting", the discussion about it is becoming more and more heated
The reason why "freehand brushwork spirit" is mentioned again is related to the concept of freehand brushwork, which has a long humanistic tradition on the time line. In various attempts, we can see that the fuzziness and uncertainty of the expression and concept definition of "freehand brushwork spirit" make it more like a "conventional" and controversial concept. Xue Yongnian once pointed out in his article on freehand brushwork that "freehand brushwork embodies an important aspect of the spirit of Chinese art... In a certain sense, emphasizing freehand brushwork means emphasizing the national characteristics of Chinese art" [1]. This view is more typical, which is recognized by most people and forms a view on the style of freehand brushwork. Of course, painters and art historians have expressed different views on the controversy of freehand brushwork as a painting technique or painting concept. Zheng Xie of the Qing Dynasty said, "I don't know how many things are wrong with the word freehand brushwork. If you deceive others and don't seek progress, you will sit down with this disease. You will work hard and then be able to freehand brushwork. You won't be able to write freehand brushwork without work." [2] Gao Juhan, an art historian, believes that "in a broad sense, the abuse of 'freehand brushwork' is an important - perhaps the most important - reason for the decline of Chinese painting after the early Qing Dynasty and the 17th century." [3] The controversy of this concept is actually understandable and in line with the historical context and development period
In the current research text, the reason why it has been re proposed in different painting categories such as meticulous painting and oil painting. From the perspective of phenomenon, there are generally the following starting points: 1. This is aimed at the tendency of making Chinese painting (the number of meticulous painting is much larger than that of freehand painting and meticulous painting) and oil painting photography (oil painting is created compared with photos) in large-scale exhibitions in recent years, The spiritual return proposed by the fundamental discord with the college education system; 2. This is to resist the generalization of imagery and conceptualization popular in today's painting world; 3. This is a strategic attempt to reconstruct the theoretical value of traditional art under the background of cultural self-confidence and cultural rejuvenation in the new era
Freehand brushwork and literati painting < / P > < P style = "text indent: 2em;" > Peng Feng pointed out that in terms of etymology, freehand brushwork has the meaning of "expressing one's feelings directly or disclosing one's deeds" [4]. It was recorded in the Warring States policy · Zhao CE ER in the pre-Qin period. However, freehand brushwork, as an independent concept of painting, was put forward when Tang Long wrote "the method of viewing painting" in the painting guide of the Yuan Dynasty: "if you view landscape, ink bamboo, plum orchid, dead wood, strange stone, ink flower, ink bird, etc., and play with calligraphy, you should be careful not to look like it. You can only get it by looking at innocence first, then looking at the brushwork, and relatively forgetting the handwriting." [5] Tang long discussed ink opera painting from the perspective of literati and bureaucrats. He could not judge whether it was similar or not, but connected freehand brushwork with the aesthetic interest of literati
"Literati painting" is a very important concept in the history of Chinese traditional painting. As a value trend and aesthetic taste standard of a special social class, it still has a far-reaching impact today. In the long historical process of the development of literati painting, a stable system has been formed to gradually use pen and ink as the medium to pursue the spiritual realm and aesthetic ideal of expressing the ease and true meaning in the chest and beyond the object. Because of their specific political and cultural identity, most of the literati painters involved not only pay attention to their personal moral cultivation, but also have the pursuit of three wonders of poetry, calligraphy and painting. They spent a lot of time on the three wonders, invested a lot of interest, and some had extremely comprehensive technical skills, such as Li Gonglin (1049-1106) and Zhao Mengfu (1254-1322); Some of them intervened strongly in literati painting because of their unshakable literati identity, which led to the tendentious changes in the overall pen and ink program and visual schema of literati painting, such as Su Shi (1037-1101); Dong Qichang (1555-1636) "can be said to be a representative of professionalizing literati painting" [6] 107
The evaluation system of "Xie Yun Zhong" will be led by the evaluation system of "Xie Yun Zhong". Zhang Yanyuan adopted the painter's social identity and personality as the strategy of character painting in the Tang Dynasty, which was presented in his historical biography of famous paintings of previous dynasties. This is different from the evaluation style of the ancient painting records and the continued painting records. Zhang Yanyuan said that "among the 370 painters listed, more than 120 people show their special political identity. They are either emperors, noble relatives, officials or high officials, accounting for one third of the total." [7] Fang Wen pointed out in the preface of his book "analysis and Research on the style and structure of Xinyin Chinese calligraphy and painting" that in China in the 11th century, the hereditary aristocrats were replaced by literati and bureaucrats and became the mainstream and leading force of politics and culture. Su Shi "represents the aesthetics of powerful emerging literati artists and has a far-reaching impact on artists in the next few centuries." [8] From the perspective of historical scholars, Dong Wei's painting style is gradually analyzed from the perspective of the "historical value" of the scholars, which is deeply influenced by the "historical value" of the painting style of the north and the south. It can be seen from the participants and promoters of literati painting that social identity is the most powerful discourse power held by knowledge producers. This power gradually pushes a kind of interest to an expression that can not shake its position. Since then, Chinese painting has been established due to the legalization of the status of literati painting, and basically dominated the traditional painting with literati painting
< img src="/picture/-1/fff33ebb4bf544329e7e3353d4676352.png" />
Literati painting and freehand brushwork < / P > < P style = "text indent: 2em;" > In the literati painting, which is full of literati interest and aesthetics, "the expression of freehand brushwork is particularly emphasized, so that the charm of pen and ink itself is beyond the level of object image shaping" [10]. Freehand brushwork originated in Chinese traditional context. From the perspective of word meaning, it is a brief painting technique of "not seeking shape similarity" and expressing one's mind directly, which combines the full use of painting media such as brush, ink and paper. The technique of freehand brushwork seems simple, but it is highly abstract and summarized by the creator's powerful pen and ink writing, combined with itself, and pursues the expression and expression of personal free emotion of "not seeking shape similarity". When it comes to freehand brushwork, what cannot be avoided is the influence of the Chinese traditional artistic spirit born in Chinese traditional culture (Confucianism of Confucius and Mencius, Taoism of Laozi and Zhuangzi, and Buddhism and Zen aesthetics represented by Huineng, the sixth ancestor) [11]. He has counted the theorists, critics and ideological systems in the history of Chinese painting, the traditional Lao Zhuang thought, the metaphysics of the Wei and Jin Dynasties, the six dharmas of Sheikh, the "painting with books" of Zhang Yanyuan, Su Shi and Zhao Mengfu in the Tang Dynasty, the freehand brushwork theory in Tang long's painting review, the "North South sect" of thinkers Li Zhi and Dong Qichang in the Ming Dynasty, As well as the promotion of the "personality trace" of literati and officials (the noble character and the exquisite painting complement each other)... It has a profound origin for freehand brushwork to gradually occupy the orthodox inheritance position in the traditional Chinese painting system. It can be said that the two concepts of "literati painting" and freehand brushwork are inseparable, and the concept of freehand brushwork promotes the perfection and maturity of the concept of pen and ink. From Jing Hao of the Five Dynasties to the end of the Song Dynasty and the beginning of the Yuan Dynasty, due to the limitation of personal painting techniques, the literati painter group began to consciously choose better pen and ink writing as the interesting pursuit of expressing their own spiritual realm. This pursuit developed from the initial unconscious choice to the later conscious consciousness, emphasizing the role of writing in the whole painting system