苏轼绘画“形神”观及其与佛教的关系

苏轼的绘画"形神"观,是一个引人注目的问题。但是因为理解的不同,后人对他的"形神"观有着不同的看法。有学者以为苏轼提出的"论画以形似,见与儿童邻"就是一味地否定"形似"强调"传神"。其实,这并不是苏轼对"形神"的真正看法。根据研究表明,苏轼非常注重"形似"对于"传神"的重要作用,认为"形"与"神"是一件作品的两个方面,舍弃"形"不可能另外求得一个"神",求"神"当在"形"中。因而惟有以"不落两边"的方法对待绘画的"形神",才能创作出一件作品的"实相"--"形神两全"的圆满境界。苏轼的这种"形神"观具有佛教"中道"思想的精神。

Su Shi's Concept of "Form and Spirit" in Painting and the Relationship with Buddhism

Su Shi's concept of "form and spirit" in painting is quite striking. However, due to different understandings, people after him have different opinions about that. Some scholars think that his saying " Alikeness in spirit should be highly emphasized in painting, this is so obvious that even children know it" shows that he just emphasizes "alikeness in spirit" while negates the "similarity in form". Actually, this is not his real ideas in the concept. According to certain research, Su Shi highly emphasizes the important role of the latter in the former. He maintains that " form" and " spirit" are the two parts of a work, that the latter will not be got if discarding the former and the latter can be got in the former. Therefore, only by paying attention to both, can the "real image" of a work be created - a perfect state of "having both form and spirit". His concept embodies the spirit of "half-Taoism" of Buddhism.