書畫船--古代書畫家水上行旅與創作關係之研究
Date Issued
2004-02-10
Date
2004-02-10
Author(s)
傅申
DOI
912411H002074
Abstract
Over the century the number of Chinese artists have temporarily moved their studios, libraries, and collections onto special boats and set forth on the waterways of China either on official journeys or for personal pleasure. As they traveled, these artists created numerous finished works of painting, calligraphy, and poetry. Among these artists were such renowned painters and calligraphers as Mi Fu （1051-1107） of the Song dynasty, Chao Mengfu （1254-1322） and Huang Kong-wang （1269-1354） of the Yuan dynasty, and Yao Shou （1423-1495） and Tung Ch’i-ch’ang （1555-1636） of the Ming dynasty, just to name a few. It was Mi Fu who made famous the term shuhua chuan （boat of calligraphy and painting）, which I have borrowed and simplified here as “the floating studio.” My interest in this topic is twofold： first, I have noticed in various colophons and other written accounts that many traditional paintings and calligraphies were actually created while traveling on boats which seems totally disappeared in modern time; and second, I have observed that the changing modes of transportation in this century have profoundly affected the content and perspective of much modern and contemporary Chinese landscape painting. I hope to explore both these related topics during the course of this project.Essentially, there were two types of arts created on boats. The first type of art was directly related to the experience of travel itself; the slowly changing view afforded by boat travel inspired the artist to compose a painting or a poem and calligraphy on the passing scenery. The second type of art was created in response to a great amount of free time provided by such a slow and relax means of transportation; the artist took the advantage of leisurely pace and lack outside disturbance to pursue his personal artistic interests, whether they were directly related to the experience of travel or not. Although two types of art are connected to my research, I intend to concentrate on the former type during the course of this project. This research will be divided into three parts. I have finished the second part first, because I used Tung Ch’i-Ch’ang（1555-1636） as a represent case study. Then I will continue to finish the period before Tung as the first part, and the third part will be concentrated the period after Tung. Here is the summery of “The Floating Studio of Tung Ch’i-ch’ang”: Since Mí Fu (1051-1107) of the Sung Dynasty used to bring his collection of ancient calligraphies and paintings accompanied with him while he was traveling by boat, this famous term of “The boat of Calligraphy and Painting” was cast and became the model of elegant life of later literate calligraphers and painters. Among them, especially the late Ming Tung Ch’i-chang (1555-1636), an admirer of Mí Fu, who was “Apathy in Government and Favor on Art”, became one of the most typical practitioners of this tradition. Tung was born and lived in the watery region of southern China taking advantage of his eight official assignments within his 40 years career to travel back and forth from his hometown to the northern capital and different regions in south. During his long trips, he was not only enjoying the scenery which enrich to his landscape paintings, but also viewing ancient masterpieces of art works which inspired him to write or paint, or express his connoisseurship about them on these scrolls, or form part of his theoretical opinions in art history. This paper concentrate on Tung Ch’i-chang, is the middle part of a serial studies of “The Boat of Calligraphy and Painting”. From Tung’s numerous examples of calligraphies and paintings created on boat as well as many colophons written on ancient works, prove the importance of his boat trips as he uses the boat as his floating and moving studio. His landscape paintings especially in handscrolls format often reflect his view of scenery along the river from his boat trips. Together with many landscape paintings by artists before and after Tung Ch’i-chang, we can simplify there were two basic types of “landscape in the mountains” and the other “landscapes along the river”. Especially the handscroll format is the ideal to express or record the artist’s experiences from their boat trips. At the same time, for the same reason, Tung’s understanding and appreciation of those river landscape paintings since Five Dynasty untill Yuan Dynasty were deepened and fovored and eventually formed his famous and influential theory of Southern and Northern school of painting. It is this
author’s believe that to understand Tung’s numerous experiences and love for boat travel and habitually devote himself to creating and studying of calligraphy and painting as well as engaging himself in connoisseurship and theoretical thinking on boat are crucial to understand his painting style and the formation of his theoretical thinking
Subjects
the floating studio
boat of calligraphy and painting
on boat
landscape along the water way
Tung Ch’i-Ch’ang
Publisher
臺北市：國立臺灣大學藝術史研究所
Type
other
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