周東卿〈魚樂圖〉研究

Abstract

檢視前人對於周東卿〈魚樂圖〉研究可知，多數研究聚焦於在畫意層面的探討，對於畫風手法與作品的畫史意義並未深入著墨，是以使我們我們尚未能具體面對〈魚樂圖〉的風格特點。 本文所要探討的議題將會包括以下幾個面向，一方面探討魚藻圖繪的成立過程，說明魚藻圖為何在宋代才開始出現，而現今被認為是北宋劉寀的〈落花游魚圖〉，該件作品展現宋代魚藻圖的特色為何？周東卿〈魚樂圖〉是否與宋代的藻魚圖有所關係為何？〈魚樂圖〉的作品風格是否對於後世的魚藻圖繪有所影響，這些議題都是筆者所要嘗試解決的。 透過這些問題的探討，將有助於我們掌握魚藻圖在中國繪畫史中發展的情形；另一方面，筆者將以周東卿〈魚樂圖〉的淡墨風格作為線索，檢視宋元畫史中的淡墨作品，嘗試釐清周東卿〈魚樂圖〉採用淡墨表現的原因，進一步探討淡墨風格在畫史上的意義。

A review of previous research on Zhou Dongqing's "The Pleasures of Fishes" reveals that most studies focus on the thematic exploration of the artwork, without deeply addressing the painting style, technique, or its significance in art history. Consequently, there remains a gap in our understanding of the specific stylistic characteristics of "The Pleasures of Fishes." This paper aims to address several key issues: Firstly, it will explore the developmental process of fish and aquatic plant paintings, explaining why this genre emerged during the Song dynasty. Additionally, the study will examine the distinctive features of the fish and aquatic plant painting genre, as exemplified by the work currently attributed to Northern Song artist Liu Cai, "Fish Swimming Amid Falling Flowers." Secondly, the research will investigate the relationship between Zhou Dongqing's "The Pleasures of Fishes" and Song dynasty fish and aquatic plant paintings, and determine whether Zhou's work was influenced by or diverged from this tradition. Thirdly, the paper will consider the influence of "The Pleasures of Fishes" on subsequent fish and aquatic plant paintings, assessing its impact on the development of this genre in Chinese art history. Finally, by analyzing the light ink style employed in "The Pleasures of Fishes," this study will examine similar light ink works from the Song and Yuan dynasties, seeking to clarify Zhou Dongqing's reasons for adopting this technique and to explore the broader significance of the light ink style within the context of art history.