論文(未經評審) Other Articles

匡霖, 当代画坛之古韵--龚乃昌大师手指画 October 2015

「阿房废址汉荒丘，狐兔又群游。豪华尽成春梦，留下古今愁。君莫上，古原头。泪难收。夕阳西下，塞雁南飞，渭水东流。力拔山兮气盖世。时不利兮骓不逝。骓不逝兮可奈何!虞兮虞兮奈若何!」「大风起兮云飞扬。威加海内兮归故乡。安得猛士兮守四方。」手指画大师龚乃昌先生的艺术创造，融中国古代绘画精华和欧洲文艺复兴技法于一身，是脱颖于璀璨的城市灯火的一颗闪烁的星辰。 正如宗白华先生指出的「艺术的源泉是一种强烈深浓的，不可遏止的情绪，挟着超越寻常的想象能力。」遍览龚乃昌先生的指画作品，正是这种源泉的结晶。龚乃昌先生的指画，有的如波澜壮阔、雄浑高亢的史诗。有的似绵绵流水、和煦微风班的散文。将历史和当代的各式典型人物的性格，表达得或如诗如歌，伴随美妙旋律，或如金鼓硝烟，激荡拍岸惊涛。这正是中国艺术的特殊之美。然而龚乃昌先生之所以能够达到这种艺术境界，正是根植于中国深厚文化底蕴，又汲取西洋科学精髓，并经历几十年探索、实践和磨炼的结果。它尚未被现代美术的欣赏者广泛认同。

謝文檳, 稿件《從荊浩山水畫『春山帰騎圖』析論看《筆法記》《乞荊浩畫》》 May 2015

摘要： 研究山水畫的學者，皆知唐末、五代後梁的山水畫家荊浩，就是北方畫派水墨山水畫之開山祖師；對於這位在中國山水畫史貢獻巨大的大師，記載荊浩的古代文獻，又甚為稀少，荊浩隱居作畫之太行洪谷，到底位於何處，自北宋以來，說法不一，即使資訊蓬勃，撿索資料無遠弗屆的現代，仍無定論。本文將將藉由賞析一幅有荊浩款識的水暈墨章山水畫『春山帰騎圖』，展開探索之旅，從畫紙、裱褙揭露相關特性、再進一步從荊浩著錄《畫山水賦》、《筆法記》及《五代名畫補遺》中所述的《乞荊浩畫》《畫山水畫答大愚》兩首詩、google衛星空照圖等，與『春山帰騎圖』做呈現比對，本文也嘗試探索此畫的流傳。『春山帰騎圖』析論後，此山水畫的寫實地點，《筆法記》中太行洪谷的位置、石鼓岩、神鉦山、大岩扉、等景點，還有古松讚所描述的古松、『乞荊浩畫』這首詩的年代，所求的山水畫等也一起在文中被發現。

Jing Hao (荆浩) was a Chinese mountain-and-river (shan shui, also known as “landscape”) painter and theorist of the Five Dynasties and Ten Kingdoms period. As an artist, he made great contributions to Chinese landscape paintings. He created the Northern Landscape painting style and strongly influenced the tradition of Northern Song painters. In his writing, A Note on the Art of the Brush (called Bi Fa Ji), he proposed a painting technique of allowing the heart to follow after the brush. Jing Hao was undoubtedly one of the most important founding figures of mountain-and-river paintings. However, there were few literatures describing this master’s lifetime. Where did he came from and where did he live? It is a question mark in history. In this paper, we discover Jing Hao’s lifetime by recognizing an uncertified/unknown painting signed with the name Jing Hao, and we verify the authenticity of the painting according to several steps. First, we study the authenticity of the painting by recognizing the kind of paper, backing, and painting skill. Second, we find out the relationships between Jing Hao’s writing and the painting. Finally, we verify the authenticity of the signature and seals on the painting. In conclusion, we find that it was highly probable that the painting was done by Jing Hao in A.D. 921.