传统笔墨与现代城市物象：中国城市山水画笔墨转译研究综述(1991~2026)

Traditional Brush-and-Ink and Modern Urbans: A Review of Research on Brush-and-Ink Translation in Chinese Urban Shanshui Painting (1991~2026)

摘要: 20世纪90年代以来，如何以传统笔墨表现现代城市，成为中国山水画的重要议题。本文以1991~2026年相关文献为基础，围绕“旧笔墨如何适应新对象”，梳理城市山水的概念源流、历史演进、笔墨转译与精神内涵。研究发现，城市山水由概念成立讨论、建设题材拓展逐步走向城市空间主体化，其笔墨转译可理解为“对象识别–笔墨选择–结构统合–意境生成”的连续机制，具体包括皴法与笔法重构、线面构成、光影彩墨转换及建筑空间经营。城市景观的山水化，关键在于将地域记忆、人居经验与山水精神纳入笔墨和图式系统。现有研究仍存在转译机制不清、作品比较不足及评价标准缺失等问题。

Abstract: Since the 1990s, how modern cities may be represented through traditional brush-and-ink has emerged as a major concern in Chinese shanshui painting. Drawing on relevant scholarship published between 1991 and 2026, this article aims to explore how an inherited brush-and-ink language can accommodate new subjects. It traces the conceptual origins and historical evolution of urban shanshui, while examining the translation of brush-and-ink language and the genre’s underlying spiritual significance. The review shows that urban shanshui has evolved from debates over its artistic legitimacy and an expansion of subject matter related to urban construction toward the establishment of urban space as an autonomous pictorial subject. Its principal modes of brush-and-ink translation include the reconstruction of cun texture methods and brushwork, the organization of lines and planes, the chromatic and ink-based rendering of light and shadow, and the compositional articulation of architectural space. The key to reimagining the urban landscape through the visual language of shanshui lies in integrating regional memory, lived experience, and the spirit of shanshui into its brush-and-ink language and pictorial structures. Existing scholarship, however, has yet to clarify fully the mechanisms of such translation and remains limited by insufficient comparative analysis of artworks and the absence of well-defined evaluative criteria.