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II.
The Three Kingdoms, Western Jin and Eastern Jin, Northern and Southern
Dynasties
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During
this period of history, literati and scholar-bureaucrat joined the art
circle, which had caused the steady widening of representation of
painting as well as notable improvement of technique. Some artists had
broken through the traditional subjects and started to directly draw
material from literary works. Landscape painting had separated itself
from the background of figure painting and gradually developed into an
independent genre of painting. |
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The “Three standouts in six dynasties” were representative artists
of this period. They were Gu Kaizhi, Lu Tanwei, and Zhang Sengyao. Gu
Kaizhi, from the East Jin Dynasty, was adept in literature, versed in
poem writing. Gu Kaizhi's reputation was probably helped by anecdotes
about his eccentricity; he was said to have three "perfects" -
perfect in 'painting, literary composition and foolishness'. His figure
painting emphasized lifelikeness and vividness, people at the time
eulogized his work of art as “without parallel in human history”,
Gu’s representative work was <The Admonitions of the Instructress
to the Court Ladies>. |
| Lu
Tanwei, from between Song and Qi Period of the Southern Dynasty, had a
distinctive technique of “continuously and unbrokenly” use of brush,
which was called “one stroke painting”; he also created a style of
“elegant bones and handsome looks”, and was recognized as the master
of the “Six Canons of Painting”. It’s such a pity that no work of
his is extant. |
| Zhang
Sengyao, from Liang Period of Southern Dynasty, was known for being
expert in painting Buddhist and Taoist subjects. He created “Zhang’s
appearance”, and in the same time was very good at absorbing foreign
forms of expression. Zhang painted murals with Indian style of
“concave-and-convex”, which brought new dimensions to the subjects,
created a school of his own, and initiated a loose style of painting
which shined each other with Gu and Lu’s tight style. |
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三国两晋南北朝
从三国鼎立开始至隋王朝建国为止，在这三百六十九年的时间里，中国长期战乱，国土长期分裂，朝代频频更迭，然而，这段时间也是中国历史上一个少有的思想活跃的时期，此间的绘画在中国绘画史上占据着一个非常重要的地位。三国两晋南北朝时期一大批出身于士大夫阶层的精英开始步入画坛，而在此以前，绘画主要由无名画工承担。文人士大夫画家给画坛带来了新风气，他们扩大了绘画的表现领域，如直接取材于文学作品的绘画，他们也展现出新的绘画技巧，由简入繁，造型准确，注重传神。这个时期一些画家成就非常杰出，成为中国绘画青史留名的第一批画家。
三国时的曹不兴是文献记载中知名最早的佛像画家，他画的人物衣纹皴绉紧贴于身，仿佛刚从水里出来一样，所以人们称之为“曹衣出水”。西晋时的卫协绘画技巧精湛，一改古时简略的作风，是在技巧上具有划时代意义的一位画家。
顾恺之、陆探微和张僧繇被称为“六朝三杰”，他们是这一时期的代表画家。张怀鲳在《画断》中评论三杰画的人物，认为张僧繇得其肉，陆探微得其骨，顾恺之得其神，把顾置于三杰之首。由于作品缺失，我们无法对这个论断进行验证。顾恺之，东晋人，精通文学、诗赋、绘画，尤擅绘画，有画绝、文绝和痴绝的“三绝”之名。他的人物画注重传神，谢安赞之“有苍生来所无”。现存顾恺之的作品有隋唐、宋人的摹本《女史箴图》、《洛神赋图》和《列女仁智图》，这些摹本体现了顾恺之所代表的以形传神的时代精神。陆探微，南朝宋齐间人，擅长画人物肖像，其用笔有连绵不断的特点，被称为“一笔画”。陆探微没有作品传世，据张怀?称其作品风格是“秀骨清像”，谢赫则称其为“尽该六法”第一人。张僧繇，南朝梁时人，以善画佛道著称。六朝时佛教和佛教艺术从印度传入中国，张僧繇受外国绘画技法的影响，能用天竺凹凸法画出具有立体感的物像，所画佛像面短而艳，自成一家，人称“张家样”。他的画风与顾恺之、陆探微的“密体”相辉映，史称其为“疏体”画派。从唐代摹本《五星二十八宿神形图》中可看出他的作品确实比顾的更富肉感，有明显的异域风貌。
这一时期早期的绘画仍沿袭两汉，强调绘画的“鉴戒”功能，即以为政教服务为主。释道教人物，神话、文学作品中的人物成为绘画的主要对象，山水画只作为人物画的映衬而出现，画中常常“人大于山，水不容泛”。南朝刘宋时，以画家王微、宗炳为代表，出现了独立的山水画画科。山水画不具有宣教功能，其目的往往只为畅神和自娱，它的产生为后世画家提供了更多的自在空间和表达自由。 |
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