抒寫生平：吳歷《興福庵感舊圖》研究

Abstract

本文以吳歷（1632-1718）的《興福庵感舊圖》為核心，指出其繪畫中存在兩種背離正統派復古主義藝術觀的特質——紀實與抒情；而他筆下這類具有別樣審美品味的作品，實際上回應了清初部分隱者和失意文士對身分建構及個人抒懷的需求，也揭示出正統派藝術在其發展過程中較少被關注的、不以仿古為主要目標的另一面向。 作為清初六家之一，吳歷的畫學養成奠基於董其昌的復古理論，然其中年皈依天主教的獨特經歷，亦使學界長期將西洋畫法視為形塑他藝術的重要資源。不過，以上觀察多集中於探尋作品的風格源流，既未形成對吳歷畫史地位的整體認知，也不易藉此說明其創作的動機與意圖。是故，本文擬在既有研究的基礎上另闢蹊徑，從題材、功用皆別具一格的《興福庵感舊圖》切入，重新思考吳歷繪畫的特色。就畫面表現而言，《興福庵感舊圖》在吸收並轉化名家傳統的同時，亦融入了吳歷對紀實和抒情的追求，堪稱畫家遊走於正統觀念邊緣的藝術縮影。進一步將視野擴及吳歷的其他作品，可知其仿古山水多以王蒙風格為發展動力，尤重動態山體的經營與緻密筆墨的運用；書齋園林圖則著力刻畫實景實事，成為記錄現實的載體；至於吳歷的詩意圖和仿趙令穰系列，往往會藉由母題的調整、組合，寄寓畫家對時局的感懷。 針對吳歷這類跟正統派觀念相悖、強調紀實與抒情的作品，即本文所稱「非典型（atypical）仿古作」，宜從時代環境及贊助群體的角度理解其生成。經過明末天翻地覆的政治動盪，歷史記憶的保存和文化秩序的重建已成為清初社會不可迴避的重要課題；如同《興福庵感舊圖》對默容生平的記敘與悼懷，在明清鼎革的轉折時期，繪畫愈發承擔起塑造形象及表述自我的功能，並成為遠離官僚體系的隱者和失意文士熱衷採行的藝術實踐。換言之，吳歷的非典型仿古作並不意味著其畫學立場的轉變，而是他在面對不同階層觀眾時所展現出的創作彈性。

Focusing on Wu Li’s (1632–1718) Remembering the Past at Xingfu Chapel, this thesis identifies two qualities in his painting—realistic and expressive—that diverge from the Orthodox School’s prioritization of antiquity. Works shaped by this alternative aesthetic sensibility responded to the needs of certain recluses and politically disaffected literati in the early Qing for self-definition and articulation of intimate sentiment. At the same time, they point to a less examined dimension of the Orthodox School, one in which the imitation of antiquity was not the primary artistic concern. As one of the so-called “Six Masters of the Early Qing,” Wu Li’s artistic formation was grounded in Dong Qichang’s revivalist theory. His midlife conversion to Catholicism, however, has also led scholars to emphasize Western pictorial techniques and styles as an important influence on his works. Previous studies have largely concentrated on tracing the formal sources of Wu Li’s paintings. Although valuable, this approach has neither yielded a comprehensive understanding of his position within the history of painting nor sufficiently explained the motivations and intentions behind his artistic practice. Building on earlier studies, this thesis adopts a different perspective by centering on Remembering the Past at Xingfu Chapel, a work distinctive in both subject and function, in order to reconsider the characteristics of Wu Li’s art. In terms of visual presentation, the handscroll draws on and transforms the traditions of established masters, while bringing together realistic and expressive elements. It thus serves as a concise embodiment of Wu Li’s artistic practice. A broader examination of his oeuvre further clarifies this position. Wu Li’s landscape paintings in the style of ancient masters, largely shaped by the influence of Wang Meng, place particular emphasis on dynamic mountain forms and dense brushwork. His studio and garden paintings focus on the depiction of actual sites and events, recording scenes drawn from lived experience. Poetic paintings, together with landscapes after Zhao Lingrang, often convey the artist’s response to his historical context through subtle modification and recombination of familiar motifs. This thesis uses the term “atypical” to describe works by Wu Li that retain elements of ancient styles while no longer prioritizing the imitation of antiquity, instead foregrounding realism and expressiveness. Such works are best understood in relation to the moment in which they were produced and the patrons for whom they were intended. After the political upheavals of the late Ming, the preservation of historical memory and the reconstruction of cultural order emerged as unavoidable concerns in early Qing society. Like Remembering the Past at Xingfu Chapel, with its narration of Morong’s life and its expression of mourning, painting during the Ming–Qing transition increasingly assumed the role of shaping identity and providing a space for intimate sentiment. It became a mode of artistic practice favored by recluses and disaffected scholars who stood apart from the bureaucratic order. In this sense, Wu Li’s “atypical” works do not signal a shift in his artistic position, but rather demonstrate the flexibility of his practice in addressing different audiences.