| 摘要: | 中國繪畫在歷史的洪流中有過傑出輝煌的表現，但近幾世紀卻是沉寂落寞呈現弱勢的頹態，這是一再生存競爭的環境中民族命運的悲歌，人對這種血緣的情感無庸置疑是血濃於水的，對這種文化的依賴與認同也同樣是根深柢固的。
在人類從生存壓迫的生活中得到了喘息的機會，從塵俗中甦醒過來的時後，人們開始找尋生命的認同及文化的根，於是乎關於民族的文化藝術情感形式，似乎又有了新的舞台新的生命，一國的文化藝術是一國的精神資產，也是其歷史活動的軌迹和文明生活的表現。繪畫的文化意涵，在初民時代，其行為的目的僅僅是為了生存或生活的需要，也沒有分化出精神與物質對立的分際，其發展過程與人類文明進化的歷程是一致的。雖然今日的繪畫及藝術的演變，不再執守這樣的原則性，有其自身繁衍的依憑和法則，仍然提供珍饈為為愛好者時時來咀嚼品嘗，使後世的知音也能倚欄憑弔與先哲神遊。
繪畫是藝術中重要核心的藝術形式，而無疑的這種形式的目的在追尋一種美的典型或塑造美的法則，中國畫的內容題材眾多無論是山水、花鳥、畜獸、龍魚、蔬果、宮殿屋宇、舟車、……等，皆可以作為表現的題材，而人物畫歷史久遠很早便在畫壇上嶄露頭角、顯現英姿、大展鴻圖，更加與社會的脈動有密切的關係，在早期常被用來作為政教宣化的工具，無論是先賢聖哲的肖像形貌，歷史故事的敘述敷陳，都說明了與社會之間有緊密的連繫，藝術的發展更增加了詠懷、抒情、唯美的內容，人物畫除了描述早期社會，以人為核心的生命宇宙觀，也在嗣後的人群社會中表現萬物之靈的生命觀，及含靈眾生中尊貴的生存進化觀，亦在冷漠刻板的社會環境中增添了幾分人文的關懷。其造型變化、筆墨線條、墨暈濃淡、色彩、氣韻，經由藝術家的巧思意匠敷塗揮灑，都化成了一幅幅動人璀璨的詩篇與曼妙的音符。
In historical torrent, Chinese painting used to have an eminent and illustrious achievement, but within recent centuries, it has shown a declining tendency lonely and aloof--- this is a lament of national fate in such a competing environment for survival. Beyond all doubt, people feel the consanguine emotion as if the blood is thicker than the water, so are the cultural reliance and recognition deeply rooted.
People start to seek life identification and culture root after awakening from the mundane world and having a break of gasp in the daily survival-oppressed life. Therefore, the emotional form in respect of national culture art seems having found a new life and a new stage again. Nation’s cultural art represents its spiritual asset, so are the track of its historical activities and the performance of its civilized life. In the time immemorial, purpose of action is barely for survivals or living requirement; there is no demarcation between spirits and materials because of the developing process consistent with the evolving process of human civilization. Although the evolvement of painting and art has no longer stuck by such principle today, it has its own proliferated reliance and rule, providing delicacies for fancier’s taste, and allowing the future generation able to live in the fantasy with sages and lean on the rail in reminiscence.
Paintings in art are an important core of artistic forms, undoubtedly, the form of which is pursuing a rule of beautiful model and sculptured beauty. Almost all kinds of the materials can be performed as a topic in Chinese painting, such as mountains, waters, animals, dragons, fishes, vegetables, fruits, palaces, temples, vessels, or vehicles, etc. As to the figure painting, it has been conspicuous in painting profession for a long time, not to mention the close relationship with social pulse. In the early stage, it was used as a political and educational instrument, either the iconic complexion of sages or that of saints; the historical story has been particularizing its tight connection with society. The artistic development may increase the aestheticism and the sentiment to express heart feelings by verse or song. In addition to depict the early-stage society, the figure painting is a cosmological view centered on human life, a life view to perform the soul of all beings in human society, and a noble living view of evolution among all living creatures, with which it has added a sort of humane care in the emotionless and monotonous social environment. The paintings, piece by piece, become the appealing and resplendent poetry and graceful note through artist’s elaborate thought and mental composition either in its modeling variation, stroke, ink halo, thickness, color, and rhythmic vitality. |
