高劍父所認識的中國繪畫傳統

Gao Jianfu's Knowledge of Chinese Painting Traditions

高劍父以鼓吹「中西融合」的繪畫改革而聞名，目前對高劍父的研究大多也著重於此。然而，在從事改革的同時，高劍父對於中國繪畫傳統的認識與看法為何，卻少有人研究。本文試圖透過高劍父所著的《我的現代國畫觀》來了解高劍父對傳統的認識。高劍父雖然主張改革，但是他對於傳統中國畫並非全盤否定，認為中國繪畫曾有輝煌的一頁。為了論述在中國畫中融入西法的正當性，他主張中國畫從漢代就已經受到西方影響，他這種中國畫受外來影響之理論甚至還包含了謝赫六法，認為謝赫六法來自印度。中國畫中，文人畫重氣韻不求形似正是高劍父想要改革的，但是談到古代中國畫的優點時，高劍父又對氣韻表示稱羨，這可說是在尋求改革時對於傳統的一種矛盾心情。

Gao Jianfu was famous for promoting the painting reform creating ”Chinese-Western hybrid painting.” Current studies on Gao are often focused on this aspect. Few people studied Gao's knowledge and view on Chinese painting traditions at the time he advocated the reform. This paper analyzes Gao's knowledge of traditions through his book My Views on Modern National Painting. Although acclaiming reforms, Gao Jianfu did not totally negate traditional Chinese painting. Instead, he thought that there was a glorious page in the history of Chinese painting. To legitimate the application of Western methods to Chinese painting, he claimed that Chinese painting has received Western influence as early as the Han Dynasty. His theory of Western influence on Chinese painting even includes Xie He's Six Laws. He thought that the Six Laws came from India. In Chinese literati painting, the trait of pursuing ”spirit resonance” instead of physical likeness is what Gao Jianfu wanted to reform. When talking about the advantages in ancient Chinese painting, however, Gao expressed his admiration for ”spirit resonance.” This is an ambivalence feeling toward traditions when seeking reforms.