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| 醉僧之意不在酒 ─ 宋代醉僧圖的意涵=Beyond Drunkenness: Song Paintings of Drunken Monk | ||
| 作者 | 鄭文倩 (著) |
|---|---|
| 出處題名 | 故宮學術季刊=The National Palace Museum Research Quarterly |
| 卷期 | v.33 n.4 夏季號 |
| 出版日期 | 2016.06 |
| 頁次 | 1 - 31 |
| 出版者 | 國立故宮博物院 |
| 出版者網址 | https://www.npm.gov.tw/ |
| 出版地 | 臺北市, 臺灣 [Taipei shih, Taiwan] |
| 資料類型 | 期刊論文=Journal Article |
| 使用語言 | 中文=Chinese |
| 附註項 | 作者單位: 加拿大皇家安大略省博物館 |
| 關鍵詞 | 醉僧圖=painting of drunken monk; 醉僧=drunken monk; 懷素=Huaisu; 狂草=wild-script calligraphy; 禪僧=Chan monk; 悟道=Buddhist enlightenment; 草書三昧; 劉松年=Liu Songnian; 李公麟=Li Gonglin |
| 摘要 | 國立故宮博物院收藏了一幅傳為劉松年畫的〈醉僧圖〉，一九六○年代經李霖燦先生根據畫上的一首無款題詩及乾隆題跋，並以《石渠寶笈》著錄的一幅李公麟〈醉僧圖〉（現藏美國佛利爾美術館）作為輔證，指出這一幅〈醉僧圖〉畫的是唐代草書家懷素。但這兩幅畫都沒有明確的標示認定圖中所繪的僧人是懷素。只是從宋代以來人們便相信懷素寫過一首詩（即劉松年〈醉僧圖〉上的題詩），而傳劉松年及李公麟的〈醉僧圖〉很明顯的是按此詩意所繪。但今存傳數幅主題類似的宋畫，卻各有不同於〈醉僧圖〉的標題。而這些畫中呈現的懷素不是唐人詩中所塑造的狂醉後當眾揮毫的懷素模樣，更常見的是一個獨坐松下，似有所悟的僧人書家；一個「醒時意」的醉僧。本文認為宋代流行的醉僧畫題，除了草聖懷素〈醉僧圖〉外，尚有一類與懷素無涉的「禪家醉僧畫」，應是北宋居士文人禪悅、文字禪文化下之產物。而宋人對草書創作的新認識及對懷素看法的轉變，也促使了有禪宗色彩的醉僧畫與懷素〈醉僧圖〉相結合，現存的〈醉僧圖〉反映的正是融合懷素、草書三昧、僧人醉酒悟道的多重意象。 In the 1960s, Lin-Ts'an Li, researcher at the National Palace Museum, Taipei, published a study on a painting tilted Drunken Monk, traditionally attributed to Liu Songnian. He identifies the theme of painting as the representation of Huaisu, a Tang dynasty monk who was especially known for his wild-script calligraphy. Li’s key evidence includes a poetic inscription, believed to be a poem by Huaisu, inscribed not only on Liu’s painting but also on another Drunken Monk painting attributed to Li Gonglin (currently in the collection of the Freer Gallery of Art ). Interestingly, Huaisu’s name never appears in the title of any of these paintings as the ostensible subject. It was not until the Song era that the purported poem by Huaisu began to be associated with him. While the two paintings make apparent pictorial references to the poem, the sober image of Huaisu appears far from the wild drunken calligrapher and monk described in the Tang dynasty literary sources. This paper discovers that in addition to Huaisu drunken monk paintings, a type of paintings depicting drunken Chan monks existed during the Song. This type was close related to the practice of Chan literature among Song scholar-laymen. I argue that the two different themes of drunken monks conflated as a result of the Song scholars’ changing concept of wild-script calligraphy as well as their transformation of the typical Tang image of Huaisu. My paper further explores the underlying meanings revealed in the conflation of the Song drunken Chan monk image with Huaisu and the related issues of clerical drinking, enlightenment, and the creation of wild-script calligraphy. |
| 目次 | 一、懷素醉僧的原始意象 4 二、醉僧圖與懷素醉僧 7 三、宋代的醉僧圖與禪 10 四、懷素醉僧與禪定醉僧的連結 14 五、傳李公麟〈醉僧圖卷〉（佛利爾美術館藏）的真偽及年代問題 17 結語 21 引用書目 22 |
| ISSN | 10119094 (P) |
| 點閱次數 | 199 |
| 建檔日期 | 2022.04.07 |
| 更新日期 | 2023.12.21 |
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