山水之外．覺翁之中──從傅狷夫渡海來台梅花作品析探其創作型態（1949 1990）

An Enlightened Elder Beyond Landscapes - Analyzing the Creative Process of FuChuan fu from the Plum Blossom Works That Came to Taiwan(1949 1990)

傳統中國繪畫學習者，經常以山水、花鳥、人物作為學習分科類別，全力投入鑽研或有所成就，傅狷夫以其山水畫表現最受重視，然而在山水作品之外，或為抒情感懷、或為記言敘事，傅氏也畫了許多鮮為人知的花卉作品，雖難與其山水貢獻等量齊觀，但花卉，尤以梅花為大宗，也曾為人所稱道。又因梅花非傅狷夫致力專攻，少為展覽而做，或許更能從其梅花作品窺探在歷史沿革下的心境轉折。本文從傅狷夫來台前梅畫收藏、來台後的梅畫展現，依照時間年表並對照時事報導，分別以（一）記年遣興、（二）贈禮交際、（三）夫妻合作等不同目的角度，列舉數件於1949-1990年，自傅狷夫渡海來台（1949）至移居美國加州（1990）期間所繪梅花作品，探悉傅狷夫來台後的梅花創作與心境變化，也試圖從山水技法討論之外，觀看傅狷夫的另一種面貌。

Traditional Chinese painters usually study landscape, bird-and-flower and figure paintings as respective genres, whether wholeheartedly endeavoring in their painting practice or eventually achieving certain greatness. In Fu Chuan-fu’s case, his landscapes have received the most attention. In addition to landscapes, however, Fu also painted many less known works with floral motifs, either for expressing feelings and sentiments or as records of his own thoughts. Although these flower paintings, among which those of the plum blossoms form a major part, are not equal to his landscapes, they have also received high praises. Moreover, Fu’s steadfast endeavor in creating plum blossom paintings was seldom for the purpose exhibitions. Therefore, this particular body of works serves as an ideal entry to chronologically examine the evolution of Fu’s state of mind. This study follows a chronological timeline to analyze Fu’s plum blossom paintings collected in China as well as those he painted after he settled down in Taiwan. By juxtaposing and comparing these works with news reports of the time, these works are divided into three groups, which are (1) Chronicling events and expressing thoughts; (2) Gifting and socializing; (3) Collaboration between husband and wife. Enumerating several plum blossom paintings spanning the years between 1949 to 1990, from when Fu moved to Taiwan to his days in California, USA, this study discusses Fu’s plum blossom paintings created in Taiwan and how they reflect his changing state of mind, in the attemp to reveal another side of Fu’s creative work in addition to existing discussions about his landscape techniques.