心之書齋：李英皇水墨創作論述

Abstract

本論文透過中國宋元時期所建立的「書齋山水」文化意象來探究與比較，同樣受到宋元文化影響的日本室町時代當中被視為禪宗美術的「書齋圖」。兩者之間雖然都以書齋做為山水想像的主要圖繪母題，然而藉由閱讀畫作裡的序文、題畫詩發現表述著一種文化過渡的層次差異。在釐清這過渡之間的關係性之前，書齋被作為山水畫中的具體存在，可以說反映出了當時文人詩畫理論提倡繪畫走向詩意化的過程，並蘊藏了宋代理學中對於心性的詮釋，使之建構成為寄寓隱逸文化的內在世界觀。由此反觀日本承繼於中國的書齋圖樣式與題畫文學，同樣架構在隱逸文化的流行被開展盛行，但有趣的是，在此文化過渡的過程裡，書齋本身的文化意象與意義有層次的受到禪學向詩中的滲透而被加以融合，走向了有別於文人寄寓人格內在世界的隱逸文化，換而言之在這直線發展的時序之中，書齋本身已不再去分別世俗與理想的價值，而是無執的成為一種藉由觀看事物的本質進而觸發感觀的投射，書齋可以是自然、貧乏、玄幽的，這體現了一種以物觀物、更為自由的內在世界精神，這也就是本論文及創作所探討的立意所在。

藉由上述對書齋與書齋之間在其揭示的一種內在精神美學的概念，提供個人在創作上從題材到媒材最後到創作者自身，也就是重新探尋文人書齋內外的盆景、自然之本質，以及作為媒材的純水墨繪畫本身，透過墨韻與墨色表現素樸、平淡、幽寂的東方繪畫特質。而題材與媒材間的取向亦反映自創作者本身描繪生活軌跡中以物觀物的一種須臾情思與體會。另外也體現在自身對於文人書齋中書畫裝池的美學角度重新檢討，在其物質的美感詮釋上，暫放文物專家的知性，而偏重作品本身給予自身的直觀感受，進行作品個體之間的裝裱規劃。這不僅只是思考對於自身創作媒材、風格及思想的釐清與再審視，更是企圖從創作者的角度介入來重新觀看與還原中國美學與日本美學在尚未分化的過程中，尋找隱藏之中新的圖像語言與內在精神旨趣的可能性。This thesis aims to explore and compare the cultural image of “Studio Landscape” constructed during the Song and Yung dynasties and “Studio Painting” of Zen Buddhism of the Muromachi Period of Japan, which was influenced by the culture of the Song and Yung dynasties. Both of their painters took “studio” as a major theme to depict their own inner landscape; however, through examination of the paintings’ forewords and inscriptions, the researcher found that there are some nuances of cultural difference between them. Before clarifying such difference due to cultural transmission, the researcher claims that “studio” as a thematic focus in landscape paintings shows that the philosophy of “Teachings of the Order” and its interpretation of one’s natural temperament directed the art theory of the Song and Yun dynasties, making literati painting a poetic expression of its painter’s reclusive inner world, rather than a description of the visible world. Studio painting of the Muromachi Period inherited the pattern and literature of those of the Song and Yun dynasties, and also burgeoned and flowered in a reclusive milieu. But interestingly, during the process of cultural transmission, the cultural image and meaning of “studio” in the paintings of the Song and Yuan dynasties underwent some transformation in Japan. The spirit of Zen Buddhism was incorporated into the creation of Japan’s studio painting, which was quite distinctive from that of literati recluse emphasized and embodied in China’s. In other words, the Japanese studio painters no longer sought to differentiate the secular and the idealistic; rather, they cultivated a detached mind to view things in essence, and projected their visions onto art works. The images of “studio” might appear to be unadorned, shabby or mysterious, because it embodied a freer state of mind. This is the main point of the thesis and art work.

As stated above, “studio” and its visual representations reveal a kind of spiritual aesthetics; that is, in his choice of subject matter and medium, the artist conveys the vision of his own inner landscape. By investigating through a new light the bonsais inside and outside the studio and the essence of nature, the artist portrays his observations through monochrome ink painting, in which calligraphic brushwork displays an eastern style of painting characterized by rusticity, simplicity and melancholy. The choice of medium and subject matter demonstrates the artist’s reflection on the transience of daily life. Also, his understanding and interpretation of the physical world has an impact on his way of picture mounts. When customizing picture frames, the artist puts aside the knowledge and skills of a connoisseur and gives more emphasis on the intuition and sensations of a single-minded observer. This is not just a clarification and reflection on his use of media and creative style, but also an effort to understand Chinese and Japanese aesthetics and to find out new language of imagery and artistic sensibility.