明代四季山水圖卷研究

Abstract

吳彬的《山陰道上》（上海博物館藏）以其奇幻和變形山水有名並富有吸引力。然而，此長卷的畫面中亦有四季的描繪，相對而言則較少被關注。另一方面，大都會博物館近年亦展出了一幀傳為李唐的明初四季山水圖卷。除了上述兩幅作品，事實上在明代仍存在著其他以四季山水框架的手卷。

明代的四季山水圖卷似乎頗為複雜。這些繪畫呈現了不同的風格、類型和主題，當中可以有追溯至宋代的傳統，但同時也有創新性的表現。不同畫派的有名畫家包括蔣嵩、吳彬、沈士充和魏之克也曾在他們的創作中採用此一主題，但相關的研究和討論在過去並不充份。因此，本論文將從現存的明代畫作中去重新發現以四季山水為主題的手卷，嘗試重新梳理從明初到晚明這些繪畫的風格和類型，用另一個角度重新認識明代的藝術世界。

Wu Bin’s On the Way to Shanyin (Shanghai Museum) is well-known and attractive because of its fantastic and transformed landscape. However, images of four seasons were depicted in thishandscroll actually, that has been less concerned relatively. On the other hand, an early Ming four seasons landscape handscroll painting, which attributed by Li Tang, had been exhibited in the Metropolitan Museum of Art in recent years as well. In fact, there are other handscrolls in the frame of four seasons landscape in Ming dynasty other than two above-mentioned artworks

Four seasons landscape handscrolls in Ming dynasty seems to be more complicated. Different styles, genres and compositions were presented among these paintings. There were traditions traced back to Song dynasty, but also innovations manifested simultaneously. Some famous painters in different schools including Jiang Song, Wu Bin, Shen Shichong and Wei Zhike adopted this theme in their creations, but related research and discussion might be insufficient in the past. Therefore, this thesis would like to rediscover the handscrolls by the theme of four seasons landscape from the existed Ming artifacts, try to reconsolidate the style and genre of these paintings from early to late Ming, in order to recognize the Ming artworld from another angle of view.