《缶庐别存》和梅石写意的人文性--兼论吴昌硕的-道艺-气象暨价值自圆.pdfVIP

《缶庐别存》与梅石写意的人文性 ——兼论吴昌硕的“道艺”气象暨价值自圆 夏中义 内容提要：题画诗历来是中国画的有机构成。吴昌硕题画诗《缶庐别存》与其画 境的“互文性”，要比坊问所想象的更有机且幽邃。所以，若不潜心体味其题画诗， 不仅无计领悟其“道艺”气象(清术民初的“第一大画家”)，甚至连其画面屡屡呈 示的标志性特征也无计解读：比如其笔墨为何一生独钟野梅，而长年冷落牡丹? 为何其梅桩菊枝一律像所南画兰，根不沾泥?为何其晚境画牡月．时，非旁置石块 不可?为何他要画野葫芦，又以篆意狂草来横扫纠结的藤蔓，让人难辨何谓书 法?何谓画意?……故真想读懂吴昌硕的经典花卉写意，宜从读《缶庐别存》丌 始。 关键词：吴昌硕； 《缶庐别存》；梅石写意；人文性 The in‘FouLuBieCun’4andChinese Humanity impressionisticpainting values ——Discussiononthe ofWu and unity Changshuo’Sart，personality isan ofChinese ofalltime． Abstract：Paintingpoetryorganiccompositionpainting BieCun”and The Wu Lu intertextualitythroughChangshuo’Spaintingpoetry‘‘Fou his ismuch andmore thanwe meansoneCan paintings deeper organic thought．It never Wu thehallmarkofit，without comprehendChangshuo’Spaintings，even a ofhis didWu thorough paintingpoetry．Forexample：why making inquiry wild than allhis isthere preferdrawingplumspeoniesthroughlife；why Changshuo nomudontherootsofhis and didhe some plumschrysanthemums，whyalwayspaint stonesnearthe inhisold didhe toconfusethe of peonies age，why try boundary wild and cursive thevinesonhis of calligraphypaintingsbywriting through