夏目漱石之南畫──王維之投影

Natsume Soseki's Literati Paintings-A Projection of Wang Wei

明治時期隨著近代化之改革，當時在文藝界亦掀起了一陣新風潮，繪畫當中講求蘊含文學意境、而文學作家追求繪畫理想將繪畫手法融入文學作品中者亦不乏其人，曾幾何時流行於中國文人間之「詩中有畫、畫中有詩」之文人理想在明治文人社會裡一時蔚為風氣。夏目漱石即為當時一代表性文人。漱石所留下之晚期畫作不乏職業級水準之南畫（文人畫），該南畫中有題詩者、亦有未題詩者，此外還有想像繪畫而作之「題畫詩」──亦即「詩中有畫」者，此種充滿畫意境界之漢詩為數亦不少。翻開中國文人畫史首先不可不提的是文人畫之創始者王維，漱石在手札、小說中多次提及王維，並對其詩作讚賞有加。本稿以漱石之晚期南畫為研究對象，探討這些畫作受王維影響之處。

Along with the reform of Meiji Period, there started a new current of thought in Japanese literary and art circles. The mood of a literary work appeared in paintings, and the technique of painting was mixed into literary works ”There is painting in poetry, and poetry in painting” The ideal of Chinese literati became the order of the day. And Natsume Soseki was a typical representative. There is no lack of first-rate literati paintings in Soseki's later works. Some of these paintings were written poems on them. And he also wrote poems full of the flavor of painting. As we how, Wang Wei is the initiator of Chinese literati painting. Soseki mentioned Wang's name many times in his letters and novels, and highly praised his poems. So we are going to do the research from Soseki's later literati paintings. We try to make a survey if these paintings were influenced by Wang Wei.