| 摘要: | 在風起雲湧的明末時期，邵彌以其詩書畫理想聞名於世，延續至清初仍未消退。然而，由於其生平資料匱乏，作品散落各地，故現今學界多聚焦於邵彌的生卒年判定，而忽視了他的個人發展趨勢，對其畫作的闡釋更是少之又少。因此，本文旨在探討明末畫家邵彌的生平交遊與繪畫藝術成就，在前人研究的基礎上，繼續深入挖掘其生平資料與交遊紀錄，以豐富地呈現畫家的個人面貌，同時透過他各個時期的繪畫作品，尤以「仿古山水」、「名勝山水」與「靈境山水」為例，探求邵彌在繪畫創作上的風格與思想轉變。
本文共分為三個章節。首先，第一章節將梳理邵彌的生平概況與交遊範圍，主要圍繞自扃與吳偉業二人的論述展開，以至邵彌與沈顥、文從簡等其他好友的互動往來，瞭解其在吳地文人圈的聲名發展，還原其真實生活環境。其次，第二章節以晚明尚「奇」的風氣作為切入點，舉例說明邵彌1625 年至 1627 年摹仿宋元諸家以及 1634 年以後臨習吳門畫派的經驗與創新，並以畫家「仿古山水」的奇拙態勢，探究其在摹仿前人經典時的獨到之處。第三章節則以 1638 年的「靈境山水」作為研究方向，通過回溯邵彌所繪「名勝」、「靈境」畫作，展現畫家在現實與夢境之間的掙扎想像，及其 1642 年超脫形跡的過程。;During the turbulent period in the late Ming Dynasty, Shao Mi was well-known for his poetry, calligraphy and painting works, which continued to the beginning of the Qing Dynasty but did not fade. However, due to the rare biographical record of Shao Mi, the works scattered around.The current academic researches are mostly focusing on the dates of his birth and death rather than the stylistic changes of his works at the different stages of his life, and the studies on his paintings are very few either. Therefore, this article aims to explore the life and painting achievements of Shao Mi in the late Ming Dynasty. On the basis of previous studies, we will continue to dig deeper into his life information, especially from the interaction with his friends to more abundantly present the artist’s personal character. At the same time, this paper will also take different paintings from his life as examples, especially "antique landscapes", "scenic landscapes" and "lingjing landscapes", to find Shao Mi′s stylistic changes.
The article is divided into three chapters. Firstly, The first chapter sorts out Shao Mi’s life profile and his social relations. It is mainly based on the discussion between Zijiong and Wu Weiye, and the interaction among Shen Hao, Wen Congjian and other friends, to explore the reasons why Shao Mi was reputable in Wudi′s literati circle, and also try to present his living environment. Secondly, in the second chapter, this paper takes the "oddness(qi)" atmosphere of the late Ming Dynasty as the starting point, to illustrate the experience and the innovation from Shao Mi′s imitation of the Song and Yuan dynasties from 1625 to 1627 and the imitation of the Wumen school of painting from 1634. This chapter will also explore the uniqueness of his paintings from his strange(qi) and clumsy(zhuo) features of the "antique landscapes". Finally, the third chapter uses the "lingjing landscapes" painted in 1638 as the direction of inquiry. From the "mingsheng" and the "lingjing" painted by Shao Mi, the painter′s misery and imagination between reality and dream was shown, and in 1642, Shao Mi was completely absorbed in his paintings, which reflects the painter’s yearning and expectation for a better life. |
