唐代山水畫藝術成就之宏觀

Making a Panoramic View on the Landscape Achievements in Tang Dyrasty

蔡秋來

《視覺藝術》 7期 (2004/11) Pp. 35-92

https://doi.org/10.6960/VA.200411.0035

摘要

山水畫自古以來即被藝術界公認為繪畫藝術最高的地位。因而筆者首先論述中國山水畫之所以興蔚發展之各種原因，而做概論式的陳述。然後具體開列章節，分別以史、論兼容的體式做詳盡的論說，使研讀者在心腦中對唐代之山水畫産生全面而深入之體認。
第一節　溯源山水畫之萌興
根據較可靠的古代畫史與理念精要的畫論，周詳論述中國山水畫萌毓興蔚的種種史跡，以探頤勾隱以及取精用宏的研究心態，依循遠近的時序，列述畫界前賢或畫人的作畫宏猷佳懿，以饗後代學者。
第二節　紹述唐代山水畫壇之盛概
在本節中具陳唐朝自李淵開國踐祚之後，諸多帝王重視畫藝並多方獎掖畫家之事跡。然後稽諸畫史及相關典籍，把唐代所有山水畫家依專精山水畫與兼擅者，分類做深入而有條理的探討，使研諸者對唐代所有山水畫人之籍貫、出身地位、師承關係與其作畫之格趣，以及其相關之藝術生活有全面周圓之體認。
筆者在本節中爲文出於嚴謹的治學態度，采用史學條貫而有組織的脈絡體式，再加上以藝術的觀點闡論，佐以文學筆調的描述，使讀者産生信而有徵，言而有據，文與藝兼融交炼的美好效果。
第三節　唐代山水畫宗師巨匠之出身暨其畫藝格趣之探研
唐代爲中國山水畫黃金時代之峯頭，因爲數頗夥的大師巨匠出世，相率弘發繪畫理趣，播揚繪畫思想，研創作畫新技法，開拓畫藝題材與內涵，因而共同締造大唐山水畫光輝璀璨之瑋績。
爲使讀者具體獲知其全盤精粹之懿詣，因而乃分節分段就各名家畫藝之鴻猷，依繪畫思想、創作技法及作畫題材與內容做深入精微之析論，幷且以勾玄擷要的論點，言前人之所未言的見地，參佐諸多古代畫史畫論對各名家所列錄的作品名稱，以及較可靠的傳述名作做周圓的探微論述，使本文能予讀者産生闡述依史而可信，立論廣博而賅洽，幷且借題宏發唐代各名家大師之藝術才華，使遠古的中國繪畫藝術彰顯出老前曄後之偉耀績效。

並列摘要

The landscape is placed the paramount peak in Chinese painting from the ancient time. So the writer firstly deal with all factors of its developments by the way of generalization, and then concretely set the paragraphs to formulate them by the historical method combining the artistic theoretical viewpoints, let the readers make an entire understanding on Tang's landscape.
Tracing the flourishing developments in the ancient landscape in China.
According to the authentic old painting history and to the essential painting theories, the writer touch on the developed conditions in painting, and taking a studious manner to explore the occult problems, absorbing the essence from them, and to elucidate the famous artists' achievements according to the ages respectively. The way con help readers sharing with their uncommon merits.
Summarizing the ebullient situation on the landscape in Tang Dynasty
In front of this part, the writer detail with the exaltation and ennoblement to the eminent artists from the earlier Tang's empires and princes and then classifying all the Tang's landscape painters into the full experts and part ones based on the Chinese painting histories and on the ancient books relevatnt to the sulject.
All the data of documents were formulated their native domiciles, their social status including their official positions, their derivable studying origins and their artistic lives as well as their painting styles.
In this part, the writer represented with the rigid academic manners matching with the historical organization, coupled with the viewpoints of the fine arts, helping expression with the graceful literary touch, therefore, it can produce a high readability for the readers.
The third part detailing with the uncommon birth and with the artistic styles for the landscape masters.
Tang placed on the peak of the golden age in Chinese landscape, there were lots of masters and outstanding experts eagerly encouraged one another to facilitate the painting theories, propagating the elegant artistic thoughts, creating the practical, adroit techniques, and widening the artistic fields and subjects, therefore the masters simultaneously established the brilliant achievenients in Tang's landseape.
To give the panoramic realization about the extractive masterstrokes for the readers, the part of this writing is divded several paragraphs based up masters' special techniques in their masterpieces, and involving their creative thoughts, touching with the pinting contents as well as painting subjects to make a profound but fair analysis, Here the remarks and criticism had never been spoken for the previous writers, Indeed, it is a valuable thesis including the precious painting histories, authentical works and their fecilitous explanations on them. So, after reading the writing, the readers can produce a panoramic and far-sighted realization on Tang's landscape art.