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1、131 從文人畫原型論蘇雪林畫趣 吳榮富 提 要 閱蘇雪林山水畫冊、讀其燈前詩草、浮生九四與日記中六百五十多則作畫心錄。發現其畢生作畫的心血，與其作詩、寫學術論文與文藝創作，工夫約略各佔四分之一。但是一般公認他是學者、作家，詩人，而畫界卻未有人說他是畫家，卻又同稱其畫為文人畫。筆者以此認為文人畫應有其原型在，不然不會有此現象。 於是乃從原型論（prototype theory）：只要相似，不須一致的觀點切入，以探溯文人畫之原型。本文先把中國繪畫分為兩條主軸：縱軸為先秦以來之人物畫；橫軸則是魏晉以下漸興之山水畫；再經由文人意識之論述而逼出文人畫之原型，進程分為：（一）文人畫乃對傳統人物畫只重勸戒
2、教化之反彈。（二）畫工（或稱畫師）縱使官大社會地位亦卑。（三）道家之觀想法間接促進山水畫之發展。（四）詩化的山水與文人畫之原型。以此得以界定文人畫的三個要件：第一其身份必須是文人，尤其是詩人，而非專業畫家；第二其特色應以山水畫為主要表現題材，第三其興趣超過藝術要求。 再從王維、白居易、蘇軾到蘇雪林先生的資料分析，可以看出一個文人喜歡繪畫的原型輪廓：對王維來說，繪畫對他只是有時遊戲三昧，偶被時人知而已，但是在他的內心深處，畫師才是他終生的夢想。從唐至宋朝蘇軾漸形成理論， 國立成功大學中文系助理教授。 成大中文學報 第十六期 2007 年 4 月 頁 131-170 國立成功大學中文系 成 大 中
3、 文 學 報 第 十 六 期 132再從蘇雪林先生身上，我們又如看到當世謬詞客，前身應畫師的再生。縱使缺點多多，還是順從如火燃燒般的興趣畫到老。蓋文人畫的最初原型，本來就是趣味性、遊戲性超越藝術性。因此當專業畫家不認同他，他也會說：洪君書法及畫均不錯，刻印尤佳，不意其腹中缺乏墨水竟至於此。以是知腹中有無墨水，乃是業餘文人畫與專業畫匠之大區別。 關鍵詞：文人畫原型、畫工（畫師）、觀想法、山水畫、落款 A Study of Su Hsuei-Lins Painting Based on the Literati Painting Prototype Wu Rong-Fu Assistant Pro
4、fessor, Department of Chinese Literature, National Cheng Kung University Abstract Looking at Su Hsuei-Lins Landscape Painting Collection and reading her 650-plus essays about the painting experience from her Poetry under the Light, Life Ninety-Four and Diary, I have found that she was engaged in fou
5、r major activities: painting, composing poetry, writing academic papers, and artistic creation, each of which took up one quarter of her energy and talent. However, she is generally recognized as a scholar, a writer and a poet, rather than a painter. While she is never identified as a painter in the
6、 painting community, her works are viewed as literati paintings. This leads me to assume that literati painting ought to have its prototype. Therefore, this study is intended to explore the prototype of literati painting from the perspective of similarity instead of sameness, based on the prototype
7、theory. In this study, Chinese painting is generally classified into two major categories. One category 吳榮富：從文人畫原型論蘇雪林畫趣 133contains personality paintings that have been created since the pre-Chin period. The other category consists of landscape paintings, which began to prevail following the Wei-Ch
8、ing period. A discussion of literati views of the two categories is conducted to work out the prototype of literati painting. In the research process, the following points are discussed: (1) literati painting as a reaction to religion-and-morality oriented personality painting, (2) the low status of
9、 a painter in society, (3) the development of landscape painting under the indirect influence of the spiritual cultivation of Taoism (4) poetic landscape painting and the prototype of literati painting. Literati painting can thus be defined with three requirements. The first requirement is that it m
10、ust be a literary figure, especially a poet, not a professional painter. The second requirement is that landscapes should be featured as the subject matter, and the third requirement is that entertainment is emphasized over artistic demands. A data analysis of Wang Wei, Po Chu-i, Su Shih and Su Hsue
11、i-Lin highlights the kind of painting that a literary figure is fond of. To Wang Wei, painting is nothing but “a playful matter at times” and “a matter occasionally known.” Deep in his heart, his lifetime dream is to become a painter. Theory of painting had been gradually formulated over the period
12、from Tang dynasty to Sung dynasty at the time of Su Shih. In the case of Su Hueh-Lin, we have come to see her as “a contemporary poet who is supposed to be a painter in previous life.” Regardless of a great number of shortcomings, she followed her interest to paint throughout her life. This is becau
13、se that the initial prototype of literati painting is entertainment. Playfulness is more important than artistic sense. Thus, when she was not recognized by a professional painter, she still remarked, “Mr. Hung is good in both calligraphy and painting, even better in inscription. It never occurs to
14、me that he is short of learning and talent to such an extent.” She means to say that the major difference between an amateur literary painter and a professional painting artisan is “learning and talent.” Keywords: Prototype, Consciousness of Literati Painting, Spiritual Cultivation of Taoism, Poetic
15、 Landscape 成 大 中 文 學 報 第 十 六 期 134吳榮富：從文人畫原型論蘇雪林畫趣 135從文人畫原型論蘇雪林畫趣 吳榮富 一、緒論 蘇雪林原名蘇梅，筆名綠漪女士。生於光緒廿三年農曆二月二十四日，卒於民國己卯年三月六日（1897.3.261999.4.21），前後享年一百零三歲。閱其蘇雪林山水畫冊、讀其浮生九四、與其十五冊從 1948 年到 1996 年的日記。發現其畢生作畫的心血，並不遜於其寫學術論文與文藝創作，何以一般公認他是學者、作家，詩人，但是卻沒有人稱他為畫家？筆者認為這是一個非常有趣的問題，也是認識蘇氏的另外一個重要角度。 第一個正式稱蘇先生為畫家的，應是馬森教授
16、，他在慶祝蘇雪林教授百齡華誕專集中，寫了一篇畫家之眼、詩人之筆說： 蘇教授的成就是多方面的，其中尤以文學創作、學術著作及畫作素為人所稱道。1 但細閱其文，實只著墨在蘇先生的文學創作，如其文中所標榜的畫家之眼，也只是用以形容綠天一書：其中的篇章如一幅幅寓情於景的水彩畫，作者筆端流洩著斑斕的虹彩，不愧是畫家之眼。2故雖稱蘇先生為畫家，實無一言及其畫。 另有三篇專業畫家的文章，表面上看都像讚頌的美辭，且都指稱其畫是文人畫，卻沒有人直稱他是畫家。且其讚頌之辭，多介於模稜兩可之間。如水彩畫家劉文三所撰蘇雪林教授的山水藝術云： 他的作品構圖與取景均屬稱心順手之意，以能抒發她的心情與感懷為主，並1 見慶祝蘇雪林教授百齡華誕專傳 （台南：成功大學編印，民國 84 年 3 月） ，頁 14。 2 見慶祝蘇雪林教授百齡華誕專傳 （台南：成功大學編印，民國 84 年 3 月） ，頁 15。 成 大 中 文 學 報 第 十 六 期 136未刻意
