徐渭“游戲”繪畫的特質與表現

明朝中晚期（十六世紀後半葉）是大寫意水墨花卉興起的轉折期，徐渭是此期的主要傑出創作者，他所成就的大寫意風貌不能單純以承繼梁楷、牧谿、倪瓚等簡逸風格或浙派的粗況風格看之。從他經常以「游戲」、「戲塗」簽署繪畫作品及肯定「無相」的生命觀言，徐渭繪畫的風格與表現，應該和禪之間存在微妙的關係性。本文主要從禪的「游戲」理念，詮釋徐渭作品風格及創作思想，作為洞悉徐渭作品所欲開顯的藝術世界。徐渭喜歡用「影」的形式特徵表現藝術形式，展現「似不似」的審美趣味，其特質應合了「破諸相」的生命觀；「對比」成象及草書線性風格的呈現，則反映了禪者「游戲」的動感和「空有妙用」的理趣。

關鍵字

徐渭；繪畫；游戲

並列摘要

From the second half the sixteenth century on, Chinese flower paintings appeared a kind of very impressionistic style, which major outstanding artist was Shü Wei's (1521-1593). Shü Wei's style of flower paintings was not only succeeded the refined interested and impressionistic style of Lian Kai (1195-1224), Mu-his (13th c.), Ni Tsan (1301-1374), the style of the zhe school, but also reflected the spirit of his beliving in the life of appearancelessness. According to the aspects of Shü Wei's of writing the word ”playing” on his works, we would associated his impressionistic style with playing Samadhi of Zin. In fact, Shü Wei wanted to put the spirit of playing Samadhi of Zin on his painting and extremely displayed running script into the picture for presenting the beauty of movement of 「playing Samadhi」. He also knew well how to leave empty space and simplified the form on the painting, which almost took the elements from Zen. The research is according to the works and the theory of Zin to imterpret the presentation and Quality of Shü Wei's style. Shü Wei's liked to revel astract motifs and the lively spirituality on his painting to establish his impressionistic style.