Title

金農的畫梅題記之探討

Translated Titles

Analysis of Jin Nong's Postscripts on Plums Paintings

DOI

10.7032/JGETSINT.201104.0255

Authors

王釗芬(Chao-Fen Wang)

Key Words

金農 ; 畫梅題記 ; 江路酸香 ; 鷺立寒汀 ; Jin Nong ; Postscripts of Plum Paintings ; Acid Incense Along River ; Egret on Sand bank

PublicationName

北臺灣科技學院通識學報

Volume or Term/Year and Month of Publication

7期(2011 / 04 / 01)

Page #

255 - 271

Content Language

繁體中文

Chinese Abstract

揚州八怪之一的金農學識淵博,每畫必有題記,其所題畫作,以梅、竹、花果植物為多,本文擬以其<畫梅題記>為範圍,探討金農於題記中所說明的畫中意涵。金農畫梅,自畫自題,進而賦與畫中圖象深層寓意,傳達畫外之趣,其<題梅畫記>的內容,約可歸納兩大類:一是託物寄興、個人人生的寫照,此是其不隨流俗的個性表現,也傳達知音難遇的感慨,及對故友家鄉的懷想;雖為謀生作畫,但在題記中可知作畫是其舒展自我的空間,也可舒緩其生活中的辛酸困頓之情。另一是冬心繪畫創作與鑑賞的相關理論,其主張師法前人創作,不求形似,著重在與前人作畫精神契合,並藉此創新作畫技巧,以形成自己特有的風格。金農為人雖率性,但在創作上是採嚴謹的態度,在繪畫前審慎醞釀、苦心經營,意在筆先,巧思佈局才落筆創作。金農畫梅尤愛「江路野梅」,以展現畫梅絕俗清高的風格,這是他對畫梅題材的認識;進而轉化為稱讚其他畫者不慕榮利的清高品格,隱然形成以人品論畫的鑑賞觀。冬心藉題記文字的「提示」,引發觀畫者產生時間的流動、氣候、嗅覺、聽覺、觸覺等多層感觀,畫瘦梅、咽酸香,藉由嗅覺感觀表達畫外之意,雖酸猶香,是畫者的自況,借文字的引發,進而讓觀者體會畫家的心境,以「多物外之賞」。其題記融入畫面,有平衡畫面的功用;又以自創的「漆書」書寫題記,表現古拙的金石筆意,成為其書畫共賞的獨詣絕學。

English Abstract

Jin Nong, one of Yangzhou Eight Eccentrics, is a profound and erudite man, who loves to write postscripts for his own paintings. The present article is aimed to analyze the ideas conveyed in the postscripts for Jin Nong's paintings. There are two different styles in his ”Postscripts on Plum Paintings.” The first category is for confiding personal feelings toward life hardship, homesickness, and nostalgias through ordinary objects and sceneries. The other is about the theories for creating and appreciating Jin Nong's paintings. He imitates earlier artistic creations with their spirituality instead of external similarities in order to recreate novel and one-of-its-kind techniques in painting and establish his unique style. In particular, Jin Nong loves to paint ”Plums Blossom along River,” which exposes the extraordinary and lofty characteristics of plums. Jin Nong uses words to initiate the multiple senses of time flow, atmosphere, smell, hearing, touch and thus enhance the viewers' appreciation of his paintings. His postscripts are also merged into his paintings and further provide balanced appreciating experiences. The writing style he created, Painting Font, is largely used for writing postscripts and has become a unique skill of personal charisma.

Topic Category 人文學 > 人文學綜合
社會科學 > 社會科學綜合
社會科學 > 教育學
Reference
  1. 北京故宮博物院。清代揚州畫家作品陳列
  2. 杜娟(1996)。金農。中國巨匠美術週刊,89,8。
  3. 肖燕翼(1999)。襟懷高曠出人意表。揚州畫派研究文集:揚州畫派書畫全集序論匯編,天津:
  4. 金聖容(2004)。碩士論文(碩士論文)。逢甲大學中文系。
  5. 范春三編譯、梁紹壬(1995)。兩般秋雨盦隨筆。新疆:新疆人民。
  6. 張郁明點校(1996)。揚州八怪詩文集。南京:江蘇美術。
  7. 傅卜棠編校、徐世昌(2009)。晚晴簃詩話。上海:華東師範大學。
  8. 鄭拙廬標譯、方薰(1962)。山靜居畫論。北京:人民美術。