「界畫」在宋元時期的轉折：以王振鵬的界畫為例

Chieh-hua in the Sung-Yüan Transition: A Study on Wang Chen-p'eng's Ruled-line Painting Style

陳韻如(Yun-Ru Chen)

《國立臺灣大學美術史研究集刊》 26期 (2009/03) Pp. 135-192+228

https://doi.org/10.6541/TJAH.2009.03.26.04

摘要

本文的目標在藉王振鵬界畫成就來重新認識元代界畫的關鍵價值。首先爬梳「界畫」語詞的歷史意義，透過追溯指稱建築圖繪之辭彙發展，以掌握「界畫」在宋元畫史上的語境變化。藉此說明宋元時期的「界畫」，如何由混合著題材、技術等不同之指稱，逐漸發展為一項具有個別特色的繪畫類科；就語意上說，「界畫」一詞在元代以前多作動詞使用，並在元代發展成含有風格類型暗示的「專有名詞」。從「界畫」語境運用與概念的變化，顯示著界畫藝術在元代的發展已有所突破，這也可從圖繪表現上的變化來加以觀察。依據王振鵬龍舟圖繪特色，本文將分別考慮其結構單元的組合手法，其建築物的整體構成模式，以及其畫面的整體佈局安排，最後再考慮圖式與畫意兩者配合後的呈現。文中將進一步與延續王振鵬作風的其他界畫作品相較，透過延續與發展的比較，本文冀能釐清元代界畫風格的重要位置與面貌，其要點並不在於是否從寫實轉成幻境的營造，而在於更為靈活地運用畫面單元的組合模式，終能藉著「自由組構」的圖繪模式以達成「炫目」畫意。

關鍵字

界畫 ； 建築畫 ； 王振鵬 ； 圖繪模式 ； 畫意 ； 繪畫類科 ； 宋元畫

並列摘要

The objective of this article is to reassess the key values of Yüan dynasty ruled-line painting based on the accomplishments of one of the foremost artists in this field at the time, Wang Chen-p'eng. The beginning of the study will comb through the historical significance of the term ”ruled-line painting (chieh-hua).” By tracing back the etymological developments of terms for depicting architectural themes, one can gain a grasp of the linguistic changes that occurred in ”ruled-line painting” in the history of Sung and Yüan dynasty painting. As such, it helps to explain ”ruled-line painting” in the Sung-Yüan period and how different terms combining various motifs and techniques gradually formed a painting category with unique features. As for its literal meaning, ”ruled-line painting” as a term before the Yüan was mostly used as a verb, only gradually in the Yüan dynasty developing into a ”proper noun” suggesting a specific type of style. The changes in linguistic usage and concepts for ”ruled-line painting” that occurred indicate that a major breakthrough was made in the formation of the art of ruled-line painting in the Yüan dynasty, which is something observable in the changes of expression that happened in paintings as well. Judging from the features of Wang Chen-p'eng's paintings of dragon boats, individual attention is placed on the methods of combining units into structures, the overall construction modes of their architecture, and the general arrangement and composition of the painting surface, with final consideration given to the combined expression of visual and painterly means. Furthermore, comparison with other ruled-line paintings that follow the style of Wang Chen-p'eng's works, in terms of its continuation and development, helps identify their important position and appearance among Yüan dynasty ruled-line painting styles. Their main point lies not in whether they go from a realistic to an imaginary construct, but in their livelier use of combination modes for the units on the painting surface. This type of ”free construct” creates the painterly quality of ”dazzling the eye” seen in these works.

並列關鍵字

ruled-line painting (chieh-hua) ； architectural painting ； Wang Chen-p'eng ； intention of painting (hua-i) ； painting category ； Sung-Yüan dynasty painting

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