蘇州隱君子：杜瓊畫風與吳地文人

Abstract

本論文以杜瓊為中心，探查明代初、中期，吳地文人的隱士文化與繪畫成果。杜瓊以「隱君子」的身份立足於他的社交圈中，其傳世作品也多與隱居生活有關。然而由《友松圖》（故宮博物院）及《山水軸》（故宮博物院）等作品可知，十五世紀的蘇州，不論是隱居圖式還是隱居內涵，都已經不同於元代。《友松圖》中精心的園林造景、多元的社交活動，很可能是十五世紀蘇州隱居生活的實質狀況，與吳寬形容杜瓊「隱不為親，貞不絕俗」之形象一致。 將傳世作品與隱居理念綜合觀之，我認為杜瓊及其好友劉珏等人，利用元代文人而來的文化遺產，包括群體意識、隱居理念與畫風樣式，來形塑群體內部的認同感。與此同時，杜瓊在內的蘇州文人，也透過積極與在職官員交往的方式，進一步將他們的思想價值觀以及隱居作品向外擴散，使得到了明中期以後，蘇州文化得以與宮廷文化相競爭，並延伸出「吳派」、「浙派」具競爭意識的名詞，也才有明末董其昌將杜瓊視為「吳門畫派之岷源」的說法出現。 據此本文認同既有研究成果所述，杜瓊等十五世紀中期的蘇州畫家在畫風上與元代文人畫家的親近關係。然而本文認為，這並不是吳派前期缺乏創見的指標，相反地，將元代文人畫風重新整理與再詮釋，正是蘇州文人刻意選擇的結果。本論文首先將考辨杜瓊名下作品之真偽，以此重新界定杜瓊的畫風範圍，接著探察杜瓊「隱君子」之社會形象與畫風的關聯，最後申論「元四大家」之畫風，特別是吳鎮畫風在吳地的意義。

This paper focuses on Du Qiong and explores the reclusive culture and artistic achievements of Wu-region literati in the early to mid-Ming dynasty. As a "recluse gentleman," Du Qiong's identity is reflected in both his social circles and artworks, many of which are closely tied to the concept of reclusion. Works such as Portrait of YouSong (The Palace Museum) and Landscape Scroll (The Palace Museum) show that by the 15th century, the concept and imagery of reclusion in Suzhou had evolved from its Yuan dynasty precedents. The meticulously designed gardens and diverse social activities depicted in Portrait of YouSong likely reflect the actual reclusive lifestyle of Suzhou during this period, aligning with Wu Kuan’s description of Du Qiong as "reclusive yet not detached from society.”

By synthesizing these works with reclusive ideologies, this paper argues that Du Qiong and his peers, such as Liu Jue, utilized the cultural heritage inherited from Yuan dynasty literati, including collective consciousness, reclusion ideals, and stylistic influences, to foster internal group identity. Simultaneously, through active engagement with contemporary officials, Du Qiong and the Suzhou literati promoted their intellectual values and reclusive works, eventually enabling Suzhou culture to rival imperial court culture in the mid-Ming period. This led to the emergence of competitive labels such as "Wu School" and "Zhe School," culminating in Dong Qichang’s later recognition of Du Qiong as the "source of the Wu School.”

This paper concurs with existing research on the stylistic affinity between mid-15th century Suzhou painters and Yuan dynasty literati painters. However, it contends that this is not an indication of a lack of originality in the early Wu School; rather, it was a deliberate choice by the Suzhou literati to reorganize and reinterpret Yuan-era artistic styles. This paper begins with an examination of the authenticity of Du Qiong’s works, redefining his stylistic boundaries, then investigates the relationship between Du Qiong's social image as a "recluse gentleman" and his painting style, and finally discusses the significance of the "Four Great Masters of the Yuan" style, particularly Wu Zhen’s influence in the Wu region.