作　　者： ;

机构地区： 暨南大学文学院中国文化史籍研究所

出　　处： 《社会科学》 2006年第7期171-178,共8页

摘　　要： 宋末元初,浙西僧人释子温(又称温日观)以画“葡萄”而知名。其在杭州五十余年,生性疏散,真憨里显露诙谐,佯狂中透出智能,戏弄以海盗发迹的朱清,醉斥以掘陵敛财的杨琏真伽。所称“温日观葡萄”,其画法本于中国传统书法,而其个人身份的“和尚”和写真对象的“葡萄”均来自距“华夏”遥远的“域外”。却缘绘者的品性修养、图画的飘逸神妙,以及从中透露出的“出尘之趣”,遂使“工一墨戏”的作品获得广泛的珍惜。而就“出尘之趣”而言,恰恰反映了释宗本旨“空”的反面。 Shi Zhwem, who was commonly called as ＂Wen Riguan＂ and was famous for writing grapes, was a monk living in western Zhejiang at the turning of Song and Yuan Dynasties. This article examined this person and his paintings, and hence revealed Shi Ziwen＇s personal history. He was not an aggressive person and was humorous. The painting techniques in ＂Wen Riguqn grapes＂ was originated from Chinese traditional calligraphy, but the identity of ＂monk＂ and ＂grape＂ were both came from remote areas of ＂yuwai （abroad areas）＂. The painter＇s characters, the quality of the paintings and the mood of ＂extraordinary＂ behind the paintings made the works of ＂Gongyi Moxi＂ gained popular acceptance and the mood of ＂extraordinary＂ reflected the opposite of Shizong＇s fundamental idea of ＂Kong（empty）＂.

关 键 词： 宋末元初 释子温 绘画书法 文化交流

领　　域： [哲学宗教] [历史地理] [历史地理]