吳鎮及其《墨竹譜》之研究

中國畫之特點在於人與自然的融合。吳鎮《墨竹譜》巧妙地將畫家獨屬的人格特質與對人生、自然感悟呈顯於畫間筆墨，其胸臆思想的揉納及創作的美感意識，必要自畫家本身之思想構成、人文環境與藝術歷程等進行探知，於品賞其書畫真蹟或有更充實的了解。《墨竹譜》美的表現與創作價值的衡量，並不僅止於畫面竹的各種形態，而是在於內在全面的筆墨、氣勢、韻致、創造及人品德性等。本文除於吳鎮家世生平研究上著力外，並對《墨竹譜》之畫作解析，如墨竹形態、畫面處理、筆墨運用，以及此譜的呈象意義與特色內涵等，依循吳鎮墨竹所創造的個人審美意識，更得貼近一代墨竹大師之竹畫視界與創作風範。本論文共分為六章。首章陳述本文的研究動機、文獻回顧，以及研究方法與範疇。第二章擬就中國文人書畫藝術的發展過程、要件特質、相關畫論與繪畫流派等進行討論，以充分瞭解吳鎮《墨竹譜》於中國墨竹藝術的價值與意義，並較廣義地討論文人和墨竹的關係。第三章談論吳鎮的家世生平與書畫藝術，尤自〈義士吳公墓銘〉與《義門吳氏譜》相互校比，對吳鎮謎樣生平里居、家世子嗣及相關傳說逐步探究。第四章進行吳鎮《墨竹譜》的內容解析，主要針對《墨竹譜》繪畫部分，包括畫面結構、竹之型態、用筆用墨等圖像形式，並將《墨竹譜》內二十二譜題識內容加以詮釋歸類。第五章即提出《墨竹譜》中的藝術呈象，以及題識與竹畫的筆墨對應關係，進而探求吳鎮墨竹所創造的審美意識。末章則統整研究成果，並對吳鎮及其墨竹於中國文人畫之傳世價值作一說明。

關鍵字

吳鎮；墨竹譜；文與可；蘇軾；墨竹；題畫；審美意識

並列摘要

The characteristic of Chinese drawings is integration of human and nature. Wu-Zhen artfully presents his unique personality and his feeling of life and nature into “Mo-chu-pu”. In order to better know Wu-Zhen’s creative thinking and aesthetic feeling, we have to investigate his constitution of thinking, cultural environment and art experience. So we can enjoy his works in deep way. Beauty and creative value of “Mo-chu-pu” is not only various shapes of bamboos but also internal and overall momentum, charm, creation and morality. Besides investigate We-Zhen’s birth and life, this thesis analyzes the drawings in “Mo-chu-pu” according to Wu-Zhen’s personal beauty sense. For example bamboo shapes, appearance and construction of a picture, movement of painting, usage of ink and its meaning and intension. Then we can get closer to a master’s bamboo painting vision and absolute masterly caliber. 　　The thesis is divided in to 6 chapters. The first chapter describes research motive, literature reviews, research methods and research range. Chapter 2 discusses art development and main characteristics of Chinese penmanship and drawing, relative essays and different sects. Then we can understand art value and meaning of Wu-Zhen “Mo-chu-pu” in Chinese bamboo painting field. And discuss the relation between traditional bookman and traditional Chinese bamboo painting in broad sense. Chapter 3 discusses Wu-Zhen’s birth and life and his painting and penmanship works. Especially we compare “Yi-shih-wu-gong-mu-ming” and “Yi-men-wu-shih-pu” so that we make a thorough inquiry of his growing environment, family and tales. Chapter 4 analyzes “Mo-chu-pu” content including construction of pictures, bamboo appearances, movement of painting and usage of ink. And make annotations and classifications of works in the “Mo-chu-pu”. Chapter 5 brings up art perception of “Mo-chu-pu” and further explores the beauty sense created by Wu-Zhen’s Chinese bamboo painting. The last chapter integrates all research results and describes the historical and inheritance value of Wu-Zhen and his bamboo painting to Chinese painting field.