從文人畫筆墨與畫論談王國維「古雅」說

Study on the "Classic Elegance" Theory of Wang Guo-Wei from the Literati Paintings and Painting Theories

佘佳燕(Chia-En Shoi)

《華文文學與文化》 創刊號 (2011/12) Pp. 87-122

https://doi.org/10.6150/SLC.2011.01.03

摘要

本文旨在理解王國維「古雅」說的內涵，先對學者的說法作一述評，再試圖從中國文人畫筆墨與畫論的思想脈絡，為「古雅」說提出一個縱向思想來源。本文第二節綜合前人對於王國維「古雅」說的解釋作一討論。第三節則說明王國維所謂繪畫中之布置，即畫面上構圖造型的安排，屬於第一形式的展現；相較於此，筆墨趣味則屬於第二形式，間從元、明、清文人畫與畫論思想，說明中國古典繪畫美學裡的第二形式有逐漸取代第一形式之態勢，由此指出王國維「古雅」說的縱向思想來源。

關鍵字

王國維 ； 古雅 ； 第二形式 ； 文人畫 ； 畫論

並列摘要

The purpose of this article is to understand and to review recent scholar's interpretations about the connotation of ”Classic Elegance” by Wang Guo-Wei, as well as to attempt to propose its lengthwise thought origins from the Chinese Literati Paintings and Painting Theories. The second section induces three gradual understanding viewpoints from comprehensive interpretations of predecessors regarding the ”Classic Elegance” by Wang Guo-Wei. The third section explains Wang Guo-wei's so-called drawing arrangement or the composition arrangement as a demonstration of the First Form, and the painting word interests as the Second Form.Meanwhile, based from the Yuan, Ming, Qing dynasty's Literati Paintings and Painting Theories, by explaining the gradual substitution of the First Form by the Second Form in the Chinese classical drawing aesthetics, then to point out a lengthwise thought origins for Wang Guo-Wei's ”Classic Elegance”.

並列關鍵字

Wang Guo-Wei ； Classic Elegance ； The Second Form ； Literati Painting ； Painting Theory

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