王維在山水畫史中地位演變的分析

AN ANALYTICAL STUDY OF THE CHANGES IN WANG WEI'S POSITION IN THE HISTORY OF CHINESE LANDSCAPE PAINTING

莊申(Chuang Shen)

《新亞學報》 7卷2期 (1966/08) Pp. 293-321+ap8-9

並列摘要

Wang Wei was an artist who lived during the mid 8th century. Criticism of his work first began in the mid 9th century. In his T'ang-ch'ao ming-hua lu, completed in 840, Chu Ching-hsüan placed Wang Wei in the "marvelous" or second category. Hence his position was below that of Wu Tao-tzu and Li Ssu-hsün, whom Chu Ching-hsün placed in the "divine" or first category. In the Li-tai ming-hua chi, written in 847, Wang Wei's technique was criticized as being inadequate. There are two types of criticism of Wang Wei's paintings found in writings by critics dating from the mid 10th century. In the biography of Wang Wei written by Liu Hsü in the T'ang-shu, Liu Hsü points out that Wang Wei's compositions are somewhat lacking, yet he places Wang Wei's paintings in the "marvelous" category and praises them. Liu Hsü's attitude reflects that of T'ang dynasty writers. The six essentials mentioned by Ching Hao in his Pa-fa-chi (ch'i, yün, ssu, ching, pi, and mo) were used by critics as principles. Ching Hao believed that Wang Wei had attained five of these six principles and therefore he considered Wang Wei as almost more important than Wu Tao-tzu and Li Ssu-hsün. This criticism represents a development in the attitude toward landscape painting in which the use of ink was considered more important than the use of color. The high position of Wang Wei in the history of landscape painting can be seen in this new development. In Kuo Jo-hsü's T'u-hua-chien-wen-chih, written during the 11th century, Wu Tao-tzu is regarded only as a figure painter. In Kuo Jo-hsü's view, Wu Tao-tzu had almost nothing to do with the development of landscape painting. This point of view placed Wang Wei in the highest position regarding landscape painting, replacing and exceeding Wu Tao-tzu. Northern Sung critics regarded Wang Wei and Li Ssu-hsün as representatives of T'ang dynasty landscape. This relationship also resulted in Wang Wei's attaining a yet higher position in the history of landscape painting. At the same time, with the division of landscape painting into the Northern and Southern Schools at the end of the Ming dynasty, Wang Wei was mentioned as the founder of the Southern School, and Li Ssu-hsün as the founder of the Northern School. In his Shan-shui ch'un-ch'üan chi, written during the 12th century, Han Cho especially speaks in praise of Wang Wei. It was only 300 years from the 9th to the 12th century, yet within those years Wang Wei's position rose from the second category to a special position in the first rank. The reasons for the change in his position can be stated as follows; 1. During the Northern Sung dynasty, Wang Wei's paintings were in style similar to and could not easily be differentiated from, those of Li Ch'eng, Kuan T'ung, as well as the works of the artists of Chiang-nan and Szechuan. 2. In making judgments, the connoisseurs of later periods did not differentiate clearly between the works of all these artists. 3. During later periods, people who did not thoroughly understand the work of Wang Wei blindly believed in the ideas of authoritative critics. The critics themselves created an incorrect image of Wang Wei.