歷史記憶與遺失－重新追憶晚明福建王建章的繪畫世界

活躍於晚明時期的福建畫家王建章，向來被中國畫史遺忘，其作品經由十七、十八世紀與二十世紀初的兩次文物移動留存日本。本文討論王建章之繪畫作品風格，藉由畫史建構的層面與晚明時期的文化脈絡兩個層面，談論王建章繪畫之歷史意義。晚明時期的繪畫，受到甲申之變影響，在遺民論述之框架下，如王建章之畫家便被篩選過濾，因而不傳於中國，而在未受此框架限制的日本，其作則得以流傳。王建章繪畫之特異之處，亦可由晚明繁華之物質生活中誕生的、非「文人畫」的「異色」理解。本文藉由《川至日升圖》與《仿古山水冊》之風格分析，探討王建章「自由仿古」的風格。在晚明的尚古、仿古的風氣下，王建章之仿古顯示一種與董其昌一派仿古的不同追求與爭勝心態。董其昌的仿古建立在江南地區的豐富的古畫收藏上，相對於此，王建章仿古的開放性顯示在文化邊陲地帶的福建在沒有收藏支持之下仿古的追求與成果，這樣的仿古徑路亦為同樣沒有收藏支持的日本南畫界所接受。此外，王建章「自由仿古」追求亦可在福建黃檗禪宗文化脈絡下理解。在歷史變動之中書寫的畫史，對王建章與整個明末福建新風的徹底歷史失憶，本文在王建章山水畫自由仿古的重新討論，或能有所救治。

關鍵字

王建章；仿古；福建繪畫；渡日

並列摘要

Wang Jianzhang, a renowned painter in Fujian in the late Ming Dynasty, is often forgotten in the history of Chinese painting. His works were preserved in Japan through two cultural relic movements in the 17th and 18th centuries and in the early 20th century. This paper discusses the style of Wang Jianzhang's paintings, and expounds on the historical significance of Wang Jianzhang's paintings from the aspects of the historical development of painting and the cultural context of the late Ming Dynasty. Paintings in the late Ming Dynasty were influenced by the Jiashen Incident. Under the framework of the remnants' discourse, painters such as Wang Jianzhang were censored. Their artwork was not circulated in China, but rather in Japan where artwork was not restricted by this framework. The uniqueness of Wang Jianzhang's paintings was the ＂different colors＂ from those of ＂literati painting＂. They were born out of the lavish materialistic lifestyle of the late Ming Dynasty. This paper discusses Wang Jianzhang's style of ＂free imitation of ancient masters based on the style analysis of ＂River Flowing into the Sea and Rising Sun＂ and ＂Landscapes after Ancient Masters Album＂. Under the trend of advocating and imitating ancient painting during the late Ming Dynasty, Wang Jianzhang's imitation demonstrated a different pursuit and competitive mentality from those of Dong Qichang's school of imitation painting. Dong Qichang's imitation painting was based on the rich collection of ancient paintings in the southern region of the Yangtze River. In contrast, Wang Jianzhang's openness in his imitation showed the pursuit and achievements in the cultural frontier, Fujian, where the collection was absent. Such an approach was accepted by the Nanga circle in Japan where collection was absent as well. In addition, Wang Jianzhang's pursuit of ＂free imitation of ancient painting＂ can also be understood in the context of Huangbo Chan/ Obaku Zen culture. The history of painting was written in the midst of historical changes. The new styles of Wang Jianzhang's artwork and paintings in Fujian in the late Ming Dynasty were missing. This paper may serve as a solution to address the lost history by revisiting the free imitation style in Wang Jianzhang's landscape paintings.