第五章
結語
宋代創立了皇家畫院制度，提高了畫家的社會地位，也鼓勵了書畫藝術的教育和發展。但是隨著經濟發展、制度變革、以及宗教、思想的發展和改變；院體繪畫的發展受到了一定的阻礙。院體繪畫所強調的“氣息”需要畫家不但要關注物性情態細緻入微，亦需要高超的表現技能，即深厚的繪畫功力。在不尚武力的宋朝，性好畫藝的徽宗皇帝提出詩畫之學相為表裡，要求在畫面上既要經營詩書畫結合的氛圍，又要強調表現技法，以視覺表達詩意之美。由上至下的推崇，院體繪畫才得到了大力發展。
北宋自蘇軾以及他周邊及後來的士人，在有意或無意之間，所要突破的是以文史貫通哲學和藝術的行為，他們重視從文史入手學習而登進士並且又能繪畫的人，稱之為“士人畫”(今天稱之為文人畫)。顧名思義，士人畫的第一標準是“士人”，必須要循從科舉道路才能達到此一標準，然後才是繪畫。以“士”的文史修養為第一要義，其繪畫必有自身缺陷。在繪畫的構圖設色，表現能力方面皆不能達到院體繪畫的要求，追求的往往是一種似與不似之間，得其神而忘其形的意趣之美。所以，蘇軾才會有“論畫以形似，見與兒童鄰”的理論提出和意念提升，在院體繪畫以外開闢了另外一條繪畫路徑，也為“士人畫”尋找了一條合于人文思想和美學理念的歸途。蘇軾此一美學理論提出以後，對此後中國繪畫發展造成了翻天覆地的巨大影響，這是一個到了今天我們仍然值得深究的議題。
趙孟堅幼年家貧，在親族的幫忙下才能入學讀書，登進士科以前，由父蔭得官，稍可安家脫貧。二十七歲循科舉登進士，隨著不斷交遊、見識閱歷和涵養的遞加，在詩詞、書法、繪畫和鑒藏方面都能別樹一幟，實屬不易，尤其是在書畫藝術方面的成就，更是具有突破性的地位。趙孟堅受蘇軾美學理念的影響頗多，“士人畫”理念的後繼者之一，通過長時期在文學歷史哲學藝術方面的學習和涵養，使得畫技和畫識都達到了相對完善的高度。
他具備了士人的身份，但是沒有依循士人畫“論畫以形似”的方向，而是轉益多師地將學習繪畫的對象，設定有士人文與可，和尚僧仲仁、畫家楊無咎、湯正仲等，可以說是得到了士人的學養、僧人的清逸、院體的工麗。因此，今天我們見到趙孟堅留傳下來的以白描法繪畫的墨畫水仙圖、竹、松、梅等畫作，既結合了院體的精妍工整，也脫離了院體敷色妍麗的範式，純以水墨白描來處理水仙的方式，在技藝上參考學習了吳道子、李公麟、楊無咎、湯正仲等唐宋名家的手法，而在題材上作了大膽創新的選擇。
我們看天津藏《水仙圖卷》的遒勁筆法，瀟灑俊逸的構圖，六米多長的卷子，水仙花葉分明，花蕊低昂回背不一，葉片修長婉轉，姿態萬千。在“形”上傳承院體繪畫精准細緻的氣息；又有“神”的肆意灑脫之韻。
我們通過此篇論文在詩文、書法、繪畫方面的綜合考察和研究印證，可以完全肯定趙孟堅在“士人畫”的理解和實踐，符合了蘇東坡在北宋時期提出來的美學理論與意念。趙孟堅以其全面的才華和驚人的天賦，在院體繪畫基礎之上，嘗試並實踐蘇軾的“士人畫”理論，並將二者有機結合，將中國繪畫藝術的美學思想理論的進步，做出了里程碑式的貢獻。
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ABSTRACT
Zhao Mengjian, who styled himself as Zigu or Yizhai, was born in thefifth year of Qingyuan, the Song dynasty (A.D.1199) and died on A.D.1267. Hewas the descendant of Anding Prince of the royal family, who had been domiciledin Guangchen Town, Haiyan, Zhejiang for generations, one of several importantcalligraphy and painting experts in South Song dynasty.
As a member of “Yuanhu Poets Union”, Zhao Mengjian had brilliantliterary talent. From “The Compilation ofYizhai”, we can find that, when he was in grassroots, he made friends withJia Sidao, honored as “Marshal of Poemand Calligraphy”, who once helped Zhao promote his social status. They keptin touch by poems with each other. Also, Zhao had made friends with many anauthor and artist of that age.
Although Zhao was a member of the royal family, his family had fallenfrom grace. Nevertheless, thanks to his father, he lived with his mothersufficiently and stayed home until twenty-seven year old when he took office.His poems were drenched with traditional Confucius values such as royal to themonarchy and dutiful to parents. From the perspective of speech, morality andmerits, he strived for achievements as an official. Since he faced frustrationsin the office, “join or retreat” had been his best option in officialdom.
With regard to arts-related statements in “The Compilation of Yizhai”,we can discover another Zhao Mengjian with “romantic ideas of Wei and Jincelebrities”. With a passion for ancient items, he once traded off his clothesfor steles and books, even braved the risk of wrecked boat to save the Lantingengraved inscription. As an expert in calligraphy and painting, Zhao Mengjianliked brush pens, inkstones and inscription so much. He could harness theseartistic tools to create his own artistic principles.
With traditional values, Zhao Mengjian was specialized in several stylesand made achievements in poem, calligraphy and painting. In the existing “The Book of Plum and Bamboo”,ZhaoMengjian established the Ink Plum school of Song dynasty, which made inked pluma theme and style for literati paintingsof later generations. The esthetical theories of calligraphy and paintingderived mostly from the literature of Su Dongpo. With regard to calligraphy, heinherited the theoretical foundation of Ouyang Xiu and Su Dongpo, who stressedcalligraphy as a symbol of individual life. He started from Tang dynasty,learned from Wei and Jin, attached top importance to the skeleton ofcalligraphy, followed by the shape. He looked to a person from the perspectiveof calligraphy, which had been considered by himself as a process of personalitycultivation. His inherent recognition of calligraphy was not only his learningnorm, but also the support for his artistic life.
In “The Book of Plum and Bamboo”,Zhao Mengjian had an extremely close look atvegetation and flowers with vividliterary description. However, few of his paintings were passed down from onegeneration to another. Among these items, the refined and orderly “Painting of Pine, Bamboo and Plum” and “The Ink Painting of Daffodil”that“combines the picture with poem and resembles the shape” stand out. His poemsand paintings add to each other’s splendor. Zhao Mengjian integrated his solidliterary and historic competence with profound painting skills。During the heyday of court painting, he learned from the estheticaltheory of “literati paintings”proposed by Su Shi, made remarkable contribution to the development of Chinesepaintings and consummation of esthetical theories.
