以溥心畬《鬼趣圖》為例——新課綱之議題融入與教師增能析論

Searching Pu Hsin-Yu's Soul on His Works of Strange Ghosts

中國描繪神鬼之畫作，起源甚早，戰國時期、韓非已稱鬼魅無形，故畫鬼魅最易。鬼怪堪稱溥心畬畫作中最獨特之題材。渡台以後，平素愛看《山海經》、《西遊記》、《聊齋》等小說，繼而繪製成圖，有時藉以諷刺世人，不僅詼諧有趣，更寓意深刻。《鬼趣圖》、《太平廣記故事》、《神異圖》等丹青誌異，雖高不盈尺，筆墨卻格外清雅，使人耳目俱新。袖珍尺幅素來非市場取向，反倒接近清宮「百什件」內之書畫尺寸，溥儒幽微地以此形制表徵著昔日王孫身分，或藉此對大清悼亡傷逝，或滿足昔日賞玩之欲望、作為皇室溫馨憶往，嘗謂「飽讀詩書」、積學以儲寶，誠與今之閱讀素養、涵養用敬，品德教育、進學致知相呼應。〈新課綱〉下之議題融入，學生適性揚才、教師跨域增能，本文舉「取法乎上」之範式，於無涯學海中，選擇議題、精準詮釋，深入淺出、親切有味，教師得以擴充知識邊界，要能廣大要能高，使快樂學習、學以致用，得享教學相長、作育英才。本文寫作方法（methodology）藉經典文學、生命教育與書畫文物美育相連結，以溥心畬《鬼趣圖》為例，全篇內容、包括：前言、〈新課綱〉教師必備之「為學當如群山峙」，壹、逸筆儒風：溥心畬丹青誌異之人格與風格，貳、飽讀詩書：溥心畬的一千零一夜，參、跨科共備：詩作畫意兼具引領《鬼趣圖》賞析，結語、蕭瑟浮雲玉壘殘：清明在躬氣志如神。見其遺民歲月之赤子心懷；進入前清「舊王孫」創作之異想世界、心境與生命，知人論世、以意逆志；哲人日已遠，典型在夙昔；潛移默化、薰陶漸染，看見寵辱不驚、無入而不自得之情意教學（Affective Domain Teaching）典範。

Pu Ru (1896-1963) was often known by his style name Hsin-yu and also had the sobriquet Xishan yishi （西山逸士）. A descendant of Yixin （奕訢, 1833-1898）, Prince Gong （恭王）, a prominent ruling member, he later frequently used the seal “Jiuwang sun,” （舊王孫） or “Scion of a former prince,” on his works. In his early years, he lived as a recluse at Jietai Monastery （戒台寺） in Xishan （西山, the Western Hills）, where he studied and did painting. He returned to Beiping （Beijing） when he was nearly thirty and took part in various art circles. In 1949, he went to Taiwan and taught at National Taiwan Normal University. He also taught at home and traveled to various places, such as Japan, Korea, and Hong Kong, to give lectures; his poetry, painting and calligraphy were admired by many. Pu Hsin-yu learned painting and calligraphy by himself from the large collection of ancient artworks in the family collection. In calligraphy, he took the regular script of “Stele for Chan Master Guifeng Dinghui” （＜唐圭峰定慧禪師碑＞）by Pei Xiu （裴休, 791-864） of the Tang dynasty as his foundation. And in painting, he studied the styles of the Southern Song artists Ma Yuan （南宋馬遠, fl. 1190-1224） and Xia Gui （夏圭, fl. 1195-1224） as well as of Ming dynasty artists in the Zhe School （浙派）. Incorporating all of their features, he developed a pure and elegant as well as pleasing and beautiful manner. Whether it be running, cursive, seal, or clerical script calligraphy or landscape, architectural, figure, bird-and-flower, or animal painting, Pu Hsin-yu excelled in each to become a truly all-around traditional painter-calligrapher. The artwork of Pu Hsin-yu has been called “The last stroke of literati painting.” （「文人畫的最後一筆」）Though many admire the Three Perfections of his poetry, painting, and calligraphy, he actually saw himself as more of a scholar and encouraged students to study first become proficient in poetry and calligraphy. In fact, many of his own paintings derive from Chinese literature, though both the subjects and forms of his works have a fresh and innovative viewpoint. One of the most unconventional subjects in the painting of Pu Hsin-yu is his depiction of the ghostly and supernatural realm. After traveling to Taiwan, he often enjoyed reading such traditional exotic novels as Journey to the West, Strange Tales from a Chinese Studio, and The Classic of Mountains and Seas, based upon which he frequently did illustrations in painting. Sometimes he did so to offer a sarcastic view on the state of current affairs. Not only are they interesting to appreciate, they therefore also have deeper meaning. His works as “Strange Ghosts,” “Journey to the West,” “Stories from Extensive Records of the Taiping Era,” and “Illustrations from The Classic of Deities and the Extraordinary.” These paintings may be small in size, but Pu Hsin-yu's brush and ink are unusually pure and elegant, making them a fresh and unusual sight. 《Strange Ghosts》 in this album leaf, ink on paper, 21.9 x 14.1 cm of eight small paintings by Pu Hsin-yu done in 1959 at the age of 64, the ghosts all look different in appearance, such as being naked and wearing a short skirt or adorned with long robes. One is also shown flying or diving through the air, apparently able to move at will. The brushwork in each work is exceptionally lively and interesting. Although titled as ghost paintings, they actually are reflection of Pu Hsin-yu's situation later in life, insinuating that he himself had accepted the fate that had befallen him. In other words, the spirits in the mountains are a metaphor for the dilemma of entrapment in trying circumstances, demonstrating his indifference and letting go of expectations in life. This article features a selection of Pu Hsin-yu's painting and calligraphy, “Records of the Unusual in Painting,” the author inquires, presents and elaborates the art and ideas of the “last literati artist,” Pu Hsin-yu.