文同《墨竹》的主題和主體性（英文）

The Subject in Wen Tong’s Ink Bamboo

學習宋畫最悠久也最爲人們所熟悉的一個話題,就是文同的墨竹畫以及它在蘇軾畫論中扮演的角色。它是如此的耳熟能詳,以至於近年來僅管對文同和蘇轼的認識和有關學術研究不斷增多,這一話題還是幾乎被批判性的重評所忽略。問題的核心是文同和蘇轼關係的本質,而這主要是通過蘇軾極盡溢美之詞和才華横溢的散文爲人所知。文同本人在他的時代似乎沉默寡言,也不被人們所欣賞,導致他的形象很快被神秘化。文同對於所謂的'文人畫'發展究竟有何貢獻?如何將它與蘇軾所扮演的角色進行區别?爲了回答這些基本的問題,我將用一種多面向的方式把文同放在他所處的歷史環境中,考察他的官宦生涯、他的著作、他的思想——尤其是關於莊子的部分——以及他的畫作。關注的重點在於文同與蘇軾的交往,以及在至關重要的11世紀70年代變法運動和其後激烈的政治争論背景下,它是如何發展的。此外,還有一個重點就是論述書法在文同墨竹畫中扮演的角色。代表文同書畫的是兩件真迹:《墨竹圖》(臺北故宫博物院藏)和一件范仲淹書迹之後的題跋(北京故宫博物院藏)。這兩個作品將要與活躍於10世紀末和11世紀早、中期的書畫家的作品進行對比,以顯示出在蘇軾對作爲繪畫新主題的作者聲音的肯定中,文同的確起到了關鍵性作用。

Wen Tong’s(1019-1078) bamboo painting and the role it plays in Su Shi’s(1037-1101)writings on painting is one of the oldest and most familiar topics of Song dynasty painting,so familiar that it seems to have largely escaped the scrutiny of critical reevaluation in recent years despite a growing body of knowledge and scholarship on both Wen and Su Shi. At the heart of the matter is the nature of the relationship between Wen and Su, which is primarily known through Su’s effusive praise and brilliant prose. Wen himself appears to have been quiet and underappreciated in his time, resulting in an image that quickly lent itself to mythologizing. What was Wen Tong’s contribution to the development of what became known as literati painting, and how can it be distinguished from Su Shi’s role? I address these fundamental questions by historicizing Wen Tong through a multifaceted approach that examines his activities as an official, his writings, his thought—especially as it pertains to Zhuangzi—and his artwork. Much emphasis is placed on the chronology of Wen’s friendship with Su Shi and how it evolved during the critical decade of the 1070 s against the backdrop of the reform movement and subsequent political acrimony. Additional emphasis is directed toward the discourse on calligraphy’s role in Wen’s ink bamboo painting. Wen Tong’s painting and calligraphy are both represented by single genuine works: Ink Bamboo(Palace Museum, Taipei) and an inscription following a work of calligraphy by Fan Zhongyan(Palace Museum, Beijing). These are positioned in relation to the art of painters and calligraphers active from the late tenth and early to mid eleventh century to demonstrate that Wen indeed played a pivotal role in Su’s affirmation of the authorial voice as the new subject in painting.