吴大澂的绘画与临摹黄易《访碑图》问题之再探讨

Wu Dacheng's Painting and Copies of Huang Yi's Finding Stone Inscriptions

本文通过对吴氏《庚寅除夕祭画记》及嗣孙吴湖帆《书画记》中有关吴大澂绘画作品的分类梳理,结合其专门使用嵌入恽南田、王石谷、戴鹿床名号之印章,勾勒他本人在绘画上取法清初四王、恽、吴,并上溯元四家以至唐宋间的董、巨诸大家,而尤对道咸间前辈戴熙作品喜爱有加的轨迹;进一步讨论他对黄易绘画的偏好,是否源于他对黄氏金石学成就的崇拜而暗含爱屋及乌之意,并就白谦慎先生《吴大澂和他的拓工》所提出相关的观点,重新加以探讨。同时,在逐一考察吴大澂所经眼的各种黄易《访碑图》及其数种临摹本的基础上,从文献资料出发,挖掘同治末年吴氏已为沈树镛独自创作《嵩山访碑图》,补充前人所论不足之处;揭示在他寓目黄易原作之前,早有自作访碑图的实际情况,进而讨论黄氏《访碑图》对吴氏的绘画临摹与创作的影响究竟有多大。

Based on related records in Wu Dacheng’s Reviewing Paintings on New Year’s Eve [庚寅除夕祭画记] and his grandson Wu Hufan’s Records on Calligraphy and Painting [书画记], the author classifies paintings by Wu Dacheng. Wu liked referring to names of Yun Shouping, Wang Hui and Dai Xi in his seal inscriptions. He found inspirations in paintings by the ＂Four Wangs＂, Yun Shouping and Wu Li of the early Qing dynasty, Huang Gongwang, Wu Zhen, Wang Meng and Ni Zan of the Yuan dynasty, and Dong Yuan and Ju Ran of the Tang to Song period. He had a special taste for Dai Xi. The author also explores connections between Wu’s preference for Huang Yi’s paintings and his admiration of Huang’s achievements in epigraphy, by referring to Qianshen Bai’s book Wu Dacheng and His Rubbing Makers. After reviewing various versions of Huang Yi’s Finding Stone Inscriptions [访碑图] that Wu had studied and Wu’s own copies, the author finds one painting Finding Stone Inscriptions at Mount Song [嵩山访碑图] that Wu dedicated to Shen Shuyong in the late Tongzhi period, suggesting that Wu had done painting in the same subject before he was influenced by Huang Yi. The author goes a step further by finding out the influence of Huang Yi on Wu’s copying and creative painting.