從得道至悟道──由博山爐探究宗炳＜畫山水序＞中的山水思想

從漢代至兩晉南北朝，藝術品上常見到山岳形象，顯示其中濃厚聖域崇拜概念，其中又以博山爐的形象最貼近聖域崇拜的心理，本文藉由博山爐的風格變化，分析從漢代過渡到魏晉南北朝期間，聖域崇拜內涵的轉變，在魏晉玄學哲思的影響下，信仰從單純想得道升仙的欲求，演化為更具知識性的尋求真理行為。本文以此聖域崇拜思想的變化，解釋宗炳的〈畫山水序〉，認為〈畫山水序〉並非描述山水圖像畫法，而是宗教性的表達，但宗炳的山水不僅只是佛教的象徵，而是更進一步成為現世和彼岸之聯繫，宗炳把博山爐中象徵成仙成佛的單純信仰，轉化成思考的過程，澄懷味像，體悟真理的悟道思想。學者在研究〈畫山水序〉時，多圍繞在其中的宗教觀上，以宗炳生平及思想背景，討論〈畫山水序〉背後思想為佛家或是道家，本文試圖以男一種角度探究〈畫山水序〉一文的內涵，用當時文化背景解釋宗炳文中的山岳觀念，提供對〈畫山水序〉中山水形像產生的看法。

From the Han Dynasty to the Wei Jin Dynasty, a prominence of mountain images in art works demonstrated a strong worship of the Holy region; this is particularly manifested in the mountain censer, otherwise known as boshanlu, with its mountain-like shape. This article analyzes implications of worship of the Holy region that are reflected by the differing styles of mountain censers from the Han Dynasty to the Wei Jin Dynasty. Due to metaphysical influences, the philosophy that consisted purely of a desire to achieve immortality evolved into seeking the truth through knowledge. This article explains Tsung Ping's essay on Painted Landscape in regard to the changing concept of Sacred Space worship. Although the essay on Painted Landscape is about the technique of landscape-painting, it also includes the religious view. Tsung Ping's landscape is not only the symbol of Buddhism, but it also captures the association between this world and Heaven. Boshanlu used to symbolize immortality, but Tsung Ping changed this iconography into the process of thinking, and learning the truth from experience. When researching essay on Painted Landscape, scholars typically use Tsung Ping's biography and his philosophy to discuss if the religious view is Buddhism or Taoism. This article attempts to explain the essay on Painted Landscape, by providing a new perspective of mountain images within the cultural context of that period.