探查蘇軾詩文中的「形」「理」「神」繪畫思想

本文主要的研究資料與範圍，是以蒐集散見於蘇軾文集與畫跋中的繪畫思想，繼《初探蘇軾詩文中的繪畫精神-以「墨竹」為例》一文，再深入探查蘇軾詩文中彰顯的「形」「理」「神」繪畫思想，做為研究的範圍，探究其精神內蘊，以及對「宋畫」發展的影響與貢獻。試以理論分析法與歸納法，探查其藝術精神的内質，以見其在中國藝術史上的價值。所得結論是：蘇軾因參禪悟道，以人品、胸次、氣質、修養等發見於繪畫思想中的審美取向，與宋畫體「道」後所開創的審美觀念息息相關。再者，蘇軾以「傳神」之妙，在得其「意思」，此意思即是仔細觀察後，把握住内質的「神」：造「意」應與天機合一，則物不形於手，而形於心，重視畫中「逸氣」的發揮，以得「似淡而實美」的真畫作，帶動「文人畫」的勃興。

關鍵字

蘇軾；詩文；「形」「理」「神」；繪畫思想

並列摘要

Based on the painting philosophy of Su-Shih collections of literary works and his commentaries in paint, and continue to explore On the Spirit of Painting in Su-Shih Poems: Take ＂Bamboo＂ as an Example, and then in-depth exploration of the Painting philosophy of ＂Shape＂ and ＂Reason＂ and ＂Soul＂ in Su-Shih Poems, this study inquires its spiritual connotation, the contribution and influence of the development of ＂ Song's painting style＂. It discusses the artistic nature to reveal the value in Chinese art history. The conclusion is that the Song's paintings had created the esthetic concept after the universal ordinary rules were found, and Su-Shih searched for the truth by meditation and setting the esthetic standard in the painting philosophy by character, aspiration, and disposition, etc. It explores that Su-Shih with the philosophy of the ＂key points＂ means to catch the ＂Soul＂ form its nature after careful observation. There are no constraints on the artists' handpainting even though there is the influence of the shape of the object on his/her mind, and emphasizes the development of the elegant disposition in the painting. In order to achieve the lifelike painting works of ＂being plain on outlooking but perfect in reality＂. It explores that Su-Shih with the philosophy of the painting led the ＂literati style＂ to be prosperous.