| 摘要: | 歷來畫史對於浙派中晚期的評價，多受晚明文人畫家和南北分宗論的影響，向有「狂態邪學」的惡評。沈顥（1586-1661）以董其昌的南北分宗論為基礎，首度將浙派畫家列入「北宗」之脈並批評之；高濂（約1537-1604）則為鑑賞品味建立標準，首次提出「狂態」、「邪學」。畫史評論和鑑賞品味，共同造成了浙派聲勢下滑。本文從畫派整體和畫家專題研究著手，破除對浙派的刻板評價。張路（1490-1563）是浙派中晚期最重要且著名的畫家，存世作品最多，擅長人物、山水畫類。從二篇明代時人所撰寫的張路傳記，以及多首散列於明人詩文集的屬畫文及題畫識記，得以揭示更多關於張路的生平與經歷。張路就學於北京國子監時畫名大噪，經遊歷山東、浙江一帶，而後歸於故鄉開封，與明代中期北方著名的文學家們往來密切，經常受託作畫，聲名不減於北京之時，其中，同鄉友人李濂（1488-1526）居間扮演重要推手。畫風先後受吳道子（活動於唐開元、天寶年間（713-755））、王諤（約活動於15世紀晚期至16世紀前期）、吳偉（1459-1508）影響，後開創出更具個人特色的特寫式構圖與簡率俐落的筆墨。張路的職業生涯多為熟人作畫，受託主題多為道釋人物，擅長以細筆描繪面容，粗筆勾勒體態，強調人物之個人性。另有一類故事人物畫，應為張路抒發個人胸懷，或與文學家詩畫酬答之作。在明代中期北方藝文界中，張路專擅作畫，文學家友人創作詩文，使詩、書、畫的合一出現在文人結社聚會的場域空間中，不再僅出現在畫面之上。張路在畫史上代表的並非浙派中期衰微之始，而是浙派畫家在宮廷之後、南方文人畫系之外，畫風盛行於北方，並與文學界來往密切的實證。The evaluation of the middle and late period of the Zhe school in the tradition of Ming painting, which is always influenced by the Late Ming literati painters, and Tung Chi-chang’s “Theory of the Northern and Sothern Schools of Landscape Painting,” is always low with the words such like Kuang-tai, an attitude of wildness, and Hsieh-hsueh, “The Heterodox School.” Shen Hao (1586-1661) is the first one who critically included Zhe painters into the “Northern School.” Kao Lien (around 1537-1604), who established the literati’s taste of connoisseurship, first brought up the idea of Kuang-tai and Hsieh-hsueh. Both the comment and the taste of connoisseurship caused the fame of Zhe school descending. This dissertation starts at examining the evaluation of the Zhe school, follows a case study of a painter, and aims to break the stereotype of them.Zhang Lu (1490-1563) is the most important and famous painter of the middle and late period of the Zhe school, and his extant works is also most. He is good at figure and landscape painting. From two Zhang Lu’s biographies written by the Ming writers, and several articles in which people ordering or replying Zhang’s paintings collected in the Ming anthologies, more and more of Zhang’s life and experiment has explored. When Zhang studied in the Imperial Academy in Beijing, his paintings had an excellent reputation. Then he travelled through Shandong and Zhejiang Provinces, and finally returned to his hometown Kaifeng. There he associated with many famous northern literati, often painted for work, his fame lasted not less than which in Beijing. His hometown friend, Li Lien (1488-1526), is an important introducer recommending Zhang’s works. Zhang’s style was influenced by Wu Daozi (active among 713-755), Wang E (active around the late 15th century to the early 16th Century), and Wu Wei (1459-1508) sequentially. Then he developed the focused-on composition and the simple and clear brushwork as his own characteristic.In Zhang’s professional career, he usually painted for acquaintances, and the Taoist and Buddhism painting were most popular. He was skilled in using thin lines to draw the facial expression, bold lines to outline the figure’s shape, emphasizing the personality of every figure. Another genre revealed his mind is the historical story figure painting. It was very possible these works were created for associating with literati’s poetry or calligraphy. In the cultural and artistic field of the middle Ming, Zhang Lu painted, and his literati friends created poetry and write calligraphy. It seemed like poetry, painting, and calligraphy in combination happened in the place where the literati held leisure activities, not merely on the surface of a painting. Zhang Lu didn’t cause the fall of the middle period of the Zhe school. He is the proof that just after the court and outside the southern literati-painter’s context, that the Zhe painters were popular in the north, and associated closely with literati. |
