文人畫的重要觀念探析

An Exploration of the Key Concepts of Literati Painting

呂昇陽(Shen-Yang Lu)

《南台人文社會學報》 16期 (2016/11) Pp. 51-87

摘要

畫史上第一個提出「文人畫」的人是明代的董其昌，而他所謂的文人畫主要指的是南宗山水畫。因為魏晉玄學中莊學的影響，文人士大夫開始發現了山水的審美價值，山水畫也因此形成一門獨立的藝術。文人畫作為一個逐漸在畫史上佔據主流地位的畫風，它的內涵是隨著時代而逐漸發展和成熟的。南朝宋的宗炳是文人山水畫的啟蒙者，他提出了山水有道，澄懷味象，以及臥遊和暢神等重要觀念。唐代的張彥遠主張書畫同體同法、推崇自然為最上品，反對形貌的刻畫謹細；並認為自古善畫者，都是衣冠貴胄、逸士高人，而非工匠所能為也。宋初的黃休復則推尊得之自然的逸格為第一等。蘇東坡提出「士人畫」一詞並認為士人畫的精神在取其意氣所到而不在表象的形似；主張詩畫本一律，天工與清新。元代的倪瓚提出逸筆草草，不求形似，聊寫胸中逸氣，聊以自娛。董其昌則提出寄樂於畫與以淡為宗的畫學理想。以上諸家的論述涵蓋了畫家身分、藝術精神、藝術風格與外部特徵等四個面向，弄清了這些重要的觀念與其思想淵源、脈絡，也就可以掌握文人畫的涵義。

關鍵字

文人畫 ； 自然 ； 逸格 ； 自娛 ； 以淡為宗

並列摘要

In the history of painting, the first person to propose the notion of ＂literati painting＂ was Dong Qichang, in the Ming Dynasty. His so-called literati paintings mainly referred to landscape paintings of the Southern School. Because of the influence of Zhuangzi in Weijin metaphysics, the literati began to discover the aesthetic value of the landscape, and therefore landscape paintings became an independent form of art. As the literati painting style gradually came to occupy the mainstream position in the history of painting, the meaning of literati painting evolved and matured with the times. Tsung Ping of the Southern Song Dynasty was an enlightener of literati landscape painting. He advocated the importance of landscape harboring the spirit and clarifying one's own spirit, as well as serving as a vicarious travel experience, reflecting the artist's inner spirit, and other important concepts. Zhang Yanyuan of the Tang Dynasty advocated that ＂paintings and calligraphy came from the same source＂, and praised ＂natural aesthetics＂ as the uppermost value, as opposed to the fine portrayal of topography. He also believed that since ancient times, good painters had generally been intellectuals, nobles, or recluses; it was beyond the capability of artisans to reach the highest aesthetic level. At the beginning of the Song Dynasty, Huang Xiu-fu espoused the nature-inspired ＂Yi＂ style as being of the highest order. Su Shi proposed the term ＂scholar painting,＂ arguing that the focus of the scholar painting was to express the spirit attained by the object, rather than representation of the shape. He proposed that poems and paintings were essentially the same, and that both the natural and artificial were fresh. Ni Zan in the Yuan Dynasty proposed the abstract brush strokes of the ＂Yi＂ style, not stressing the literal representation of shape, painting the fugitive spirit in one's breast, for the purposes of self-gratification. Dong Qichang put forward the ideal of painting as being like the ＂acquisition of happiness in creative painting＂ and ＂envisaging 'the ordinary' as the highest state＂. Discussion of each of the above schools is conducted from four perspectives: the painter's identity, artistic spirit, artistic style and external artistic features. By clarifying these important concepts as well as their ideological origins and contexts, the meaning of literati painting can be clearly grasped.

並列關鍵字

literati painting ； natural aesthetics ； ＂Yi＂ style ； use for self-gratification ； envisaging 'the ordinary' as the highest state