元末明初的道教山水藝術：方從義與道教山水藝術的關係

Daoist Landscape Art in the Late Yuan and Early Ming: The Relationship of Fang Congyi and Daoist Landscape Art

元末明初的龍虎山崇尚一種道教藝術的風格，方從義既是龍虎山的道士，又是當時著名的畫家，能體現元末明初道教的山水觀，又能將這些道教的概念以山水藝術展現。本文從方從義相關人物留存下來的詩、文、畫等，進行脈絡分析，從敘事來俱現元末明初方從義所體現的形象。方從義雖然留下論著絕少，但是從其交遊的文士作品中，仍可以勾勒出其生平、道教修練與藝術創作，並呈現元末明初江南山水在道教藝術與社群網絡的重要性。這些山水的描繪大多以江西、浙江、福建為主，顯現元末明初江南的神聖山岳的特質與人文風貌，其中蘊含大量對自然的宗教視野，賦予大自然深刻超卓的靈性敘事與圖像。方從義是十三至十五世紀道教藝術的代表者，而在南方沿海形成一種獨特的藝術風格，以及一種美學風尚。

Around the late Yuan and early Ming dynasties, Longhu Mountain advocated a style of Daoist art. Fang Congyi was both a Daoist priest of Longhu Mountain and a famous painter at that time. This article analyzes the context of the poems, essays, paintings, etc. left behind by Fang Congyi's related figures, and reveals the image of Fang Congyi in the 14th century from these narratives. Although Fang Congyi has few works left, we can still outline his life, Daoist practices and artistic creation from the works of scholars he communicated with, and show the importance of Jiangnan landscape art in Daoists and literati social network in the late Yuan and early Ming dynasties. The depictions of these landscapes are mostly in Jiangxi, Zhejiang, and Fujian, showing the characteristics and humanistic features of the sacred mountains in the south of the Yangtze River in the 14th century. They contain a large number of religious visions of nature, giving nature profound and superior spiritual narratives and images. Fang Congyi was a representative of Daoist art from the 13th to 15th centuries, and he formed a unique artistic style and an aesthetic style on the southern coast.