奇姿與質樸──從吳彬到方以智的晚明畫石風尚

From the Strange to the Simple: The Late Ming Stone Paintings of Wu Bin and Fang Yizhi

晚明清初的畫石作品面貌多樣，從吳彬筆下的奇姿到方以智手中的質樸，伴隨晚明賞石風尚大行其道之際，圖繪石頭與其畫史進程是一引人注目的文化現象。不過在品賞文化之潮流，方以智為何會以樸實手法圖繪奇石，朝向與吳彬細膩翔實畫石手法截然不同的創作方向？有別於過去習用的遺民身分之論述立場，本文由二人畫風作為對照，嘗試將前述提問置於晚明畫石風尚之中，藉以思考方以智的畫石樣態所顯示的新意，期能由畫史角度對明末清初文藝時局增添理解。
近年緣於吳彬與方以智二人畫石作品都有新出圖像公開，此議題具備研究優勢。為能分析二人畫石風格的繼承與延續，文中依序解析吳彬《奇石圖卷》作為賞石文化之極致表現，接著梳理《素園石譜》與《十竹齋書畫譜》等圖譜以掌握晚明畫石視覺素材之多樣，再釐清邢侗、倪元璐、藍瑛如何從畫石素材中選擇取用樣式，最後聚焦在方以智畫石作品之研討。依據方以智《墨石圖冊》（安徽博物館藏）與新出《書畫合冊》（石頭書屋藏）的五開畫石，能檢視方以智雖有接續晚明畫石樣式，但更從其造型、筆墨上調整為樸實之新意。並輔由方以智題畫文字重建其用心，推敲其禪宗思維又如何轉化晚明畫石面貌。

In the late Ming and early Qing dynasties, stone paintings ranged from the strange appearance of Wu Bin’s吳彬(1573-1620)“Ten Views of a Lingbi Rock”十面靈壁圖to the simplicity in Fang Yizhi’s方以智(1611-1671) Mo shi tuce墨石圖冊(Album of Stone Paintings). As the appreciation of rock landscapes flourished in the late Ming dynasty, stone paintings and their historical development became a striking cultural phenomena. Within this trend, however, why did Fang use a simpler method to illustrate unusual rocks, taking a direction completely different from Wu’s earlier delicate and detailed approach? Differing from previous discourse that considers the two painters from the perspective of Ming loyalist identity, the present paper positions their painting style as the point of comparison and attempts to situate the above question into the late Ming context of stone painting styles to investigate the novelty displayed by Fang.
In addition, to analyze how the styles of Wu Bin and Fang Yizhi were inherited and carried on, this paper examines newly released works of the two artists. Wu Bin’s“Ten Views of a Lingbi Rock”can be considered an ultimate expression of the culture surrounding rock landscape appreciation; and several other of his stone painting manuals provided a variety of visual materials for the painting of rocks, which were used as inspiration by artists such as Ni Yuanlu倪元璐(1594-1644), Lan Ying藍瑛(1585-1664), and likely even Fang Yizhi. Looking at Mo shi tuce and other works, however, Fang—despite being a continuation of late Ming painting tradition—simplified the style in terms of shape and brushwork to produce a new visual effect, which according to his inscriptions, was in part linked to his Chan Buddhist mindset.