清初「畫隱」思想研究：以王翬、惲壽平為例

明清易代之際，紛亂的政治情勢及戰火襲捲過後的殘破景像，帶給當時文士們相當大的心靈衝擊與震撼。這群劫後餘生的文士們，由於個性、思想、背景之差異，使他們在面臨自身（家國）的存亡卅認同問題時，產生了種種不同的抉擇。本研究則聚焦於清初正統派畫家及其觀眾群體，旨在探討這群因筆墨結緣的文人畫家卅鑑賞家們，如結合繪畫創作與中國的隱逸傳統，在亂世中找出一種安頓自我身心的生存方式－－「畫隱」。其中，王翬（1632－1717）和惲壽平（1633－1690）屬最具代表性的人物。　　王翬、惲壽平皆為清初畫壇巨擘，歷來研究多半側重其藝術成就及風格技法，至於繪畫、人生思想部份，則散見於一些短篇論文，或是泛論性的中國繪畫思想史著作中，至今仍未見專門並深入探討二人「畫隱」思想者。因此，本論文便試著以「畫隱」為主軸，考查王翬、惲壽平及其親友圍繞此議題所發展的相關論述，著手進行研究。所謂「畫隱」，意即視「畫」如淨土，畫家卅鑑賞家在作畫卅觀畫的過程中，彷彿來到一個無拘無束，並且能將憂愁煩惱洗滌殆盡的世外桃源。由於「畫」可作名詞、亦可作動詞，故本論文便以「隱於『畫作』」和「隱於『作畫』」為兩大論述重心。首先探討王翬、惲壽平等人如何透過〈桃源圖〉和〈江南春〉等畫作，藉以寄托其時代感懷；其次則從王翬和惲壽平的繪畫思想入手，由其工夫論與境界論，觀察他們如何藉由繪畫創作，超越現實生活中的種種困頓與苦悶。

關鍵字

王翬；惲壽平；畫隱；隱逸；繪畫思想

並列摘要

While the dynasties evolved from Ming to Qing, it was very shocked and astounded for the scholars and artists who witness the assaults, disorders and chaos in wartime. Upon the distinct characters and experiences, these scholars and artists chose different ways to face the arduous dilemma of dynastic identity, which refer to their dignities, self-esteem, and even living. This thesis focused on those who was called “Orthodox artist” and the viewers of their works, analyzing how they settled themselves in the troubled times by combining creating paintings with the Chinese eremitic tradition, that we called “Hua-yin”. Above those artists, Wang Hui (1632-1717) and Yun Shouping (1633-1690) are the most typical personages in this period. Wang and Yun are both master painters in early Qing dynasty. Previous researches into these two artists mostly concentrated on their painting skills and achievements, but rarely focus on their thoughts and philosophies. Until now, there are no particular research that discussed “Hua-yin”. it is a complex term which involved multiple meanings such as “to live in seclusion by painting” or “to withdraw from real society and live in painting works” because the Chinese word “Hua” can be read as verb or/and noun at the same time. This thesis attended to demonstrate the idea of “Hua-yin” by looking into the discourse between these two artists and their relatives, friends and followers. A main interpretation of “Hua-yin” is considering a painting as another world, where the creators and viewers can get themselves into. There are no more troubles or vexations in these fictitious, utopian worlds. As mentioned above, “Hua-yin” is a multivalent term. This thesis would go around this key term and proceed through two mainly discourse: First, it discovered that Wang and Yun left their sentiments of the worst of times into the paintings like ‘Peach Blossom Spring’ and ‘Spring in the Yangtze Delta’. In the next place, by elaborating their principle and thought on painting such as “Methodology” and “Theory of Perfection”, it revealed how Wang and Yun are detached from difficulties and perplexities in their real life.