關仝(約907-960間(jian)),長安(an)(今陜(shan)(shan)西西安(an))人。五(wu)(wu)代后梁畫(hua)家。一(yi)作關同、關穜。畫(hua)山(shan)(shan)水早年師法(fa)荊浩(hao),刻意(yi)學習,幾至廢寢忘食。他(ta)所畫(hua)山(shan)(shan)水頗(po)能(neng)表現出關陜(shan)(shan)一(yi)帶山(shan)(shan)川的特點和雄偉氣勢。與(yu)李成、范寬形成五(wu)(wu)代、北宋(song)間(jian)北方山(shan)(shan)水畫(hua)三個主要流派(pai),并與(yu)荊浩(hao)、董(dong)源、巨然(ran)并稱(cheng)五(wu)(wu)代、北宋(song)間(jian)四大山(shan)(shan)水畫(hua)家。
《宣和畫(hua)(hua)(hua)(hua)譜》著錄御府(fu)藏畫(hua)(hua)(hua)(hua)中(zhong)(zhong)有其《秋山(shan)(shan)圖》《江山(shan)(shan)漁艇圖》《春山(shan)(shan)蕭寺(si)圖》等(deng)94件。傳世作品(pin)有《山(shan)(shan)豀待(dai)渡(du)圖》及(ji)《關(guan)(guan)山(shan)(shan)行(xing)(xing)旅(lv)圖》等(deng)。《山(shan)(shan)豀待(dai)渡(du)圖》描繪(hui)大(da)山(shan)(shan)下(xia)水濱有人(ren)(ren)待(dai)渡(du),畫(hua)(hua)(hua)(hua)中(zhong)(zhong)大(da)山(shan)(shan)矗立,石質(zhi)堅凝(ning),氣(qi)象壯偉荒寒,與宋人(ren)(ren)論述(shu)關(guan)(guan)仝(tong)山(shan)(shan)水“坐突危峰,下(xia)瞰窮谷,卓爾峭拔者,(關(guan)(guan))仝(tong)能一筆(bi)而(er)成”(《五(wu)代(dai)名畫(hua)(hua)(hua)(hua)補遺(yi)》)的(de)(de)風貌(mao)相似。《關(guan)(guan)山(shan)(shan)行(xing)(xing)旅(lv)圖》畫(hua)(hua)(hua)(hua)深(shen)秋季節荒山(shan)(shan)中(zhong)(zhong)的(de)(de)野店行(xing)(xing)旅(lv),勾皴(cun)簡(jian)括有力(li),景物(wu)(wu)高深(shen),虛(xu)實(shi)富(fu)有變(bian)化,穿(chuan)插各種人(ren)(ren)物(wu)(wu)活(huo)動(dong),使畫(hua)(hua)(hua)(hua)面(mian)更富(fu)生活(huo)氣(qi)息。關(guan)(guan)仝(tong)不善畫(hua)(hua)(hua)(hua)人(ren)(ren)物(wu)(wu),畫(hua)(hua)(hua)(hua)中(zhong)(zhong)人(ren)(ren)物(wu)(wu)多請胡翼代(dai)為繪(hui)制。胡翼,字鵬云,五(wu)代(dai)畫(hua)(hua)(hua)(hua)家,主要活(huo)動(dong)于后梁之際,善畫(hua)(hua)(hua)(hua)佛道人(ren)(ren)物(wu)(wu),也能畫(hua)(hua)(hua)(hua)樓臺車馬,亦精于摹(mo)古(gu)。
關(guan)(guan)仝的(de)畫(hua)(hua)風(feng)對當(dang)時及后(hou)世均有很(hen)大(da)影(ying)響(xiang)。北宋著名畫(hua)(hua)家(jia)郭忠恕,早年(nian)就師事(shi)關(guan)(guan)仝,不(bu)僅(jin)氣勢(shi)宏(hong)偉,其筆法(fa)(fa)也(ye)不(bu)落俗套。此外,關(guan)(guan)仝的(de)弟子還有王(wang)士元(yuan)、劉永、王(wang)端等。王(wang)士元(yuan)是汝南(nan)宛(wan)丘人(ren),古人(ren)說他無一(yi)筆無來處,畫(hua)(hua)精微(wei),只是缺乏深山(shan)(shan)大(da)谷煙霞之氣。劉永是開封(feng)人(ren),曾習諸家(jia)山(shan)(shan)水(shui)(shui),一(yi)日見到(dao)關(guan)(guan)仝的(de)畫(hua)(hua),大(da)為(wei)(wei)感嘆:“此乃得名至藝者(zhe)乎?向(xiang)所謂登泰山(shan)(shan)而小魯。”于是專法(fa)(fa)關(guan)(guan)氏,果(guo)然登堂(tang)入(ru)室。王(wang)端字子正,山(shan)(shan)東(dong)人(ren)。山(shan)(shan)水(shui)(shui)得關(guan)(guan)氏之要,曾在(zai)大(da)相國寺(si)畫(hua)(hua)過壁畫(hua)(hua),又善(shan)寫肖像(xiang),宋真宗(zong)很(hen)欣(xin)賞(shang)他。劉永、王(wang)端皆(jie)有四時山(shan)(shan)水(shui)(shui)傳于宋世。元(yuan)代無錫畫(hua)(hua)家(jia)倪云林,本(ben)屬江南(nan)山(shan)(shan)水(shui)(shui)畫(hua)(hua)派(pai),但也(ye)從(cong)關(guan)(guan)畫(hua)(hua)中吸收了皴筆橫豎交接、層層相疊的(de)畫(hua)(hua)法(fa)(fa),并(bing)將關(guan)(guan)畫(hua)(hua)的(de)中鋒為(wei)(wei)主(zhu)改為(wei)(wei)側鋒為(wei)(wei)主(zhu),成(cheng)為(wei)(wei)一(yi)種(zhong)新的(de)皴法(fa)(fa)——折帶(dai)皴,用(yong)于表(biao)現(xian)太湖沿岸的(de)坡石(shi),從(cong)而完成(cheng)了倪氏的(de)典型風(feng)格特征。
關(guan)仝的傳世作品有《待渡圖(tu)(tu)》《山(shan)溪(xi)待渡圖(tu)(tu)》《關(guan)山(shan)行旅圖(tu)(tu)》等。取景多是(shi)山(shan)勢雄偉的大(da)山(shan)和深(shen)山(shan),構(gou)圖(tu)(tu)豐富,形象(xiang)真(zhen)實。
《待(dai)渡圖》帶有(you)鮮明的(de)(de)北方特色,巍峰(feng)聳立(li),氣勢(shi)堂(tang)(tang)堂(tang)(tang);遠山(shan)迷朦(meng),意境(jing)幽深。關仝(tong)(tong)繪畫在(zai)取(qu)勢(shi)造意上(shang)豪放非(fei)凡。此圖大山(shan)作正(zheng)面(mian)主峰(feng)突危(wei)(wei),山(shan)勢(shi)直立(li),占據整圖1/2畫面(mian),相當穩(wen)定(ding)。這種構(gou)圖方式(shi)在(zai)古代早期山(shan)水(shui)畫中(zhong)(zhong)常見,而(er)最忌諱的(de)(de)是景物的(de)(de)對稱。作者將主體(ti)大山(shan)布局于畫面(mian)右上(shang)側,其他厚重的(de)(de)景物集中(zhong)(zhong)在(zai)畫面(mian)的(de)(de)左下側,取(qu)得了均衡變化的(de)(de)效果,穩(wen)定(ding)中(zhong)(zhong)求危(wei)(wei)勢(shi),峻拔中(zhong)(zhong)取(qu)墩壯,整幅畫面(mian)豐盈飽(bao)滿。畫中(zhong)(zhong)堂(tang)(tang)堂(tang)(tang)大山(shan)矗立(li),石質堅(jian)凝(ning),氣象壯偉荒寒,用筆剛健有(you)力,顯示出山(shan)石的(de)(de)堅(jian)實質感。所畫樹木有(you)枝無干,用筆簡勁老辣。與(yu)宋人(ren)論述關仝(tong)(tong)山(shan)水(shui)“坐突危(wei)(wei)峰(feng),下瞰窮谷,卓爾峭(qiao)拔者,(關仝(tong)(tong))能一筆而(er)成(cheng)”的(de)(de)風貌相似。
根據另(ling)軸各名家的(de)(de)多幅題(ti)跋(ba)可推斷,此幅《關(guan)仝待(dai)渡(du)圖》描繪的(de)(de)是一(yi)幅夕陽西下的(de)(de)傍晚(wan)美景。早期山(shan)水(shui)(shui)畫(hua)還(huan)常常安置人(ren)(ren)物(wu)活動(dong)(dong)于(yu)山(shan)水(shui)(shui)之(zhi)中(zhong),而且適當表(biao)現(xian)以簡單的(de)(de)情(qing)節(jie)點(dian)化主題(ti)。《待(dai)渡(du)圖》構圖緊湊,勾皴(cun)簡括有(you)(you)力,景物(wu)高深(shen),虛實富(fu)有(you)(you)變化,穿(chuan)插(cha)其中(zhong)的(de)(de)水(shui)(shui)濱有(you)(you)人(ren)(ren)待(dai)渡(du)的(de)(de)場(chang)景,使畫(hua)面更富(fu)生(sheng)(sheng)活氣息。岸(an)邊(bian)(bian)五個待(dai)渡(du)者(zhe)一(yi)邊(bian)(bian)寒暄,一(yi)邊(bian)(bian)翹首(shou)以盼小船靠岸(an),挑擔(dan)者(zhe)似乎(hu)剛(gang)到(dao)岸(an)邊(bian)(bian),肩上的(de)(de)擔(dan)子還(huan)未來(lai)得及(ji)(ji)卸下。一(yi)位頭戴斗笠的(de)(de)船翁弓著腰奮力撐桿,小舟徑直朝岸(an)邊(bian)(bian)劃(hua)來(lai)。對岸(an),依(yi)山(shan)而建的(de)(de)樓(lou)閣(ge)相互掩映,吸引了(le)不少文人(ren)(ren)義士(shi),待(dai)渡(du)者(zhe)似乎(hu)也正欲返回樓(lou)閣(ge)中(zhong)。這一(yi)處(chu)人(ren)(ren)物(wu)和場(chang)景的(de)(de)呼(hu)應,充滿(man)著純樸的(de)(de)山(shan)區生(sheng)(sheng)活情(qing)趣,賦予(yu)了(le)山(shan)水(shui)(shui)濃厚的(de)(de)人(ren)(ren)情(qing)味。足見關(guan)仝駕(jia)馭(yu)復雜的(de)(de)山(shan)川景物(wu)、布局構圖以及(ji)(ji)刻畫(hua)生(sheng)(sheng)動(dong)(dong)的(de)(de)藝術表(biao)現(xian)能力。
《關山行旅圖》是關仝的代(dai)表作,畫(hua)上峰巒疊嶂、氣勢(shi)雄(xiong)偉,深谷云林處隱(yin)藏古寺,近處則(ze)有(you)板橋(qiao)茅屋,來往旅客商(shang)賈如云,再加雞犬升鳴(ming),好一幅融融生活圖。此畫(hua)布(bu)景兼(jian)“高(gao)遠”與(yu)“平(ping)遠”二法,樹(shu)木有(you)枝(zhi)無干,用筆(bi)簡勁(jing)老辣,有(you)粗細(xi)斷續之(zhi)分,筆(bi)到(dao)意到(dao)心到(dao),情境(jing)交融。此外,畫(hua)家(jia)在落(luo)墨時漬染生動,墨韻跌(die)宕起伏,足見關仝山水畫(hua)道之(zhi)精深。
關(guan)仝工畫山(shan)(shan)水,早年(nian)師荊浩(hao),刻意力學,晚年(nian)有出藍之譽。喜(xi)作秋山(shan)(shan)寒林、村居(ju)野渡、幽(you)人逸士、漁市山(shan)(shan)驛,使其見者悠然如在灞橋風雪中,不復(fu)有市朝抗塵走(zou)俗之狀(zhuang)。筆法簡勁,氣勢極壯,石體堅凝(ning),山(shan)(shan)峰峭拔(ba),雜樹豐(feng)茂,有枝無干,時稱(cheng)“關(guan)家山(shan)(shan)水”,與荊浩(hao)并(bing)稱(cheng)“荊關(guan)”。