謝縉生平及繪畫研究

謝縉為元末明初畫家，擅詩文，有《蘭庭集》傳世，代表作為《雲陽早行圖》。其畫風繼承王蒙、趙原、黃公望等元代諸名家，作畫速度甚快，所作山水常有奇特、不符合尋常山石結構的重疊效果，同代人以〝爛熳疊山〞稱之。比起同時代其他畫家，謝縉在繪畫成就上較無出色表現，歷代著錄之中關於謝縉的記載極少、內容有所出入，其中存在許多爭議：如字號記載不同、籍貫不同、所著《蘭庭集》卷數有所差異等。也因其畫藝並不出色，直至今日尚未有碩、博士論文對其進行研究，僅有少數幾篇介紹性質的文章略微提及其畫風與生平簡述。對於謝縉的研究仍有許多可努力處，尤其是對其史料的全面整理以釐清訛誤更是必要的工作。謝縉處在元、明二朝交替的時代，研究他可知一位元朝的文人藝術家是如何面對新王朝的建立、如何追求功名、如何在仕與隱之間抉擇。他所遺下的詩文作品也記錄了明初畫家們的互動情況。從他僅存於世的畫作可知曉王蒙、趙原、黃公望等元朝諸家的畫風是如何被承繼下來。比較各文獻紀錄的差異，也可知謝縉曾經受到何種重視、立下了何種的典範。本文旨在釐清歷代文獻對謝縉記載，說明其中爭議與訛誤，並找出更詳實的文獻資料，試圖還原謝縉生平背景；討論謝縉的繪事記載與畫作，研究其繪畫評價與目的；由研究謝縉與其友人互動、求仕、立齋狀況來推測明初文人生活的可能情形；討論此時期書齋賀跋的多元功能性，研究謝縉藉此求取功名的手腕；並討論西莊雅集這一文人團體是如何互相扶持求功名，如何在永樂朝中崛起、得勢與衰弱。關鍵詞：謝縉、孔昭、深翠軒、西莊雅集、《蘭庭集》、《雲陽早行圖》、《東原草堂圖》、《深翠軒詩文卷》。

關鍵字

謝縉；孔昭；深翠軒；西莊雅集；蘭庭集；雲陽早行圖；東原草堂圖；深翠軒詩文卷；明初文人

並列摘要

Xie Jin was a painter in the late Uan and early Ming dynasties. He was good at poetry and prose; he left following generations “Lan Ting Ji”, and “Yun Yang Zao Xing Tu” was his representative painting. He inherited the style of famous painters in the Uan dynasty, such as Wang Meng, Zhao Uan, Huang Gong Wang, etc. He painted at a fast speed; his landscape had an overlapping effect, which was particular and didn’t correspond to the usual structure of mountains. His contemporaries called his landscape “Lan Man Die Shan”. Compared with other painters of his time, Xie Jin didn’t have brilliant achievements in painting. In the past articles and books, there were only a few records about Xie Jin; the contents were divergent and controversial. For example, there were different records about his zihao, his ancestors’ birthplace , and the number of “Lan Ting Ji” volumes. Because his painting skills were not outstanding, up to now there has been no thesis about him; only several introductive articles mention his style and have a brief description of his life. The research about Xie Jin leaves much to be desired; it is essential to study historical records thoroughly and indicate the mistakes among them. Xie Jin lived from the Uan dynasty to the Ming dynasty. Thus, research about him helps us know how a Uan scholar painter faced the establishment of a new dynasty, and how he made a choice between being a government official and being seclusive. His works recorded the interaction among the painters in the early Ming dynasty. From his extant works, we learn how the style of Uan painters Wang Meng, Zhao Uan and Hung Gong Wang was inherited. Comparing the differences in records, we know how Xie Jin was viewed, and what style he set up. This thesis is meant to make clear the historical records about Xie Jin, explain the controversy and mistakes in them, and find out more detailed data, trying to trace Xie Jin’s background. It is meant to discuss Xie Jin’s paintings and records, studying the purpose and other people’s evaluation of his paintings. It is meant to study Xie Jin and his friends’ interaction, seeking government office and establishing houses, to infer the possible condition of scholars’ life in the early Ming dynasty. It is meant to discuss the multiple functions of studio colophons during this era, researching Xie Jin’s diplomacy by which he sought his government office. Also, it is meant to discuss how the scholar group “Xi Zhuang Ya Ji” sought their government office by helping one another, and how they rose, came to power, and fell in the Yong Le period.