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晚明清初視覺文化中的居士藝術：吳彬與其畫風之衍生=The Lay Buddhist Art in the Visual Culture of Late Ming and Early Qing Dynasty: Wu Bin and the Evolution of His Style |
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| Author |
陳韻如 (著)=Chen, Yun-ru (au.)
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| Source |
2023 第九屆漢傳佛教與聖嚴思想國際學術研討會
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| Date | 2023.06.29 |
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| Publisher | 財團法人聖嚴教育基金會 |
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| Publisher Url |
https://www.shengyen.org.tw/index.aspx?lang=cht
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| Location | 臺北, 臺灣 [Taipei, Taiwan] |
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| Content type | 會議論文=Proceeding Article |
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| Language | 中文=Chinese |
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| Keyword | 吳彬=Wu Bin; 丁雲鵬=Ding Yungpeng; 晚明宗教版畫=Religious Printed Book in Late Ming; 居士藝術=Lay Buddhist Art; 渡水羅漢=Lohan Crossing Water; 崇福寺《涅槃圖》=Nirvana Painting in Sofukuji Temple; 陳賢=Chen Xian; 黃檗藝術=Obaku Art |
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| Abstract | 1592年，吳彬在泉州繪製《十六羅漢卷》（紐約大都會博物館藏），卷中羅漢樣貌雖不似常人，但從禮敬大士、觀看放生、坐聽說經，每每舉止儀度卻如文人居士。吳彬（約活動 1568-1621）本人就是居士 ，他的佛教人物圖繪亦呼應著晚明居士佛教活絡景況。這些卷中的住世護法們經過吳彬重組古代畫樣後，進行著如同人間信眾一般的活動，既是為畫中羅漢添加世俗細節，也為
畫外觀眾聯繫起賞看的共鳴。
現今學界對吳彬居士身分雖有掌握，但如何將吳彬筆下古怪卻又充滿奇趣的佛教人物造型畫風，在晚明視覺文化中尋求定位則仍有再議空間。高居翰（ James Cahill）主張西方傳入全新事物，而得以激化晚明復古又具新意的風潮。石守謙則聚焦十七世紀金陵城市文化，以顧起元（ 1565-1628）反偽古、倡新奇的立場作為呼應吳彬畫風之識者同道，視吳 彬奇趣畫風為其作用顯現。筆者曾關注吳彬居士身分，解析其佛教人物圖繪對圖像格套早有鬆動，更添入豐富世俗化細節。實際上，出身莆田的吳彬與其畫風，後續又於福建地區頗有衍生與影響，尚值得再多探究。其中，陳賢（約活動 1634-1660）的作品因黃檗僧隱元隆琦（ 1592-1673）傳入日本而較為人所知。陳賢也是居士，曾為亘信行彌（ 1603-1659）在泉州延福寺繪製菩薩畫百幅以募資營繕。
從吳彬到陳賢，變形奇趣、世俗細節共組出晚明清初宗教圖繪不容忽視的居士藝術新貌。本文在畫風分析研究將採兩部分推進，第一部分將梳理晚明江 南宗教圖繪的樣態，其中以丁雲鵬與其版畫圖繪樣式、隆慶與萬曆宮廷相關圖繪樣式為主，用以對照出吳彬新創佛教人物畫風特點。第二部分則要考察清初的後續衍生畫風，此次則將以現存日本長崎崇福寺之《涅槃圖》為例，用以檢視吳彬之後的畫風衍生面貌。崇福寺《涅槃圖》雖有吳彬名款，但從畫風已知是屬吳彬後繼作坊之製，畫面中多種樣式並存的人物畫風特色可闡述晚明清初的宗教圖繪豐富成果，又能從畫中聚焦於江海場景的構圖特色，適得以重新檢視福建地區對渡海樣式之選擇與運用。最後，也將再透過陳賢羅漢圖式檢視其與吳彬新樣的差異，具體考慮跨越江南與 福建的吳彬畫風樣式，如何再度隨著居士信眾之組成不同而發展與調節。
整體而論，本文在梳理吳彬至陳賢之間的宗教圖繪發展大勢，一方面檢視江南與福建等區域畫風的錯綜關連，同時也要藉此重估吳彬衍生畫風之具體樣態，重新思索晚明居士藝術的具體貢獻，乃至由之考察其成為黃檗藝術核心樣式的脈絡。
In 1592, Wu Bin created the "Sixteen Arhats Scroll" (now in the collection of the Metropolitan Museum of Art in New York) in Quanzhou. Although the appearance of the arhats in the scroll is different from that of ordinary people, they display dignified and graceful behavior when paying homage to Buddha, watching over the release of living creatures, and listening to sutra teachings, much like literati scholars. Wu Bin (active around 1568-1621) himself was a lay Buddhist, and his depictions of Buddhist figures painting reflect the flourishing state of lay Buddhism in the late Ming period. After reorganizing ancient painting styles, the arhats in these scrolls are depicted as engaging in activities like ordinary devotees, adding secular details to the image of the arhats and creating resonance between the work and the audience outside the painting.
These days we have a good understanding of Wu Bin's status as a lay Buddhist, but there is still room for debate on how to position his peculiar yet fascinating Buddhist figures and artistic style within the visual culture of late Ming Dynasty. James Cahill argues that the introduction of new Western elements helped to intensify the trend of both reviving and innovating in late Ming art. Shih Shouchien, on the other hand, focuses on the urban culture of Jinling City in the 17th century. He noticed that Gu Qiyuan (1565-1628) opposed fake antiquities and advocated new and innovative art, which can be the context of Wu Bin's style. The author has previously studied Wu Bin's identity as a lay Buddhist and has found that his depictions of Buddhist figures have already broken away from traditional conventions and incorporated rich secular details. In fact, Wu Bin and his style had a significant influence and legacy in the Fujian region, particularly through the works of Chen Xian (active during 1634-1660), who was also a layman and painted one hundred bodhisattva paintings for fundraising and renovation at Yanfu Temple in Quanzhou, Fujian. It was through the transmission of the Obaku Zen Master Yinyuan Longqi (1592-1673) that Chen Xian's works became better known in Japan.
From Wu Bin to Chen Xian, the transformation of strange and interesting forms and the addition of secular details have formed a new and noteworthy style of Buddhist art created by lay artists in the late Ming and ear-ly Qing dynasties. This article will be divided into two parts for visual analysis of these painting styles. The first part will examine the style of religious painting in late Ming Jiangnan, focusing on the woodblock prints of Ding Yunpeng and the court-related paintings of the Longqing and Wanli periods, in order to compare the characteristics of Wu Bin's new Buddhist figure painting style. The second part will examine the subsequent derived styles in the early Qing dynasty, using the Nirvana Paintin |
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| Hits | 7 |
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| Created date | 2024.10.08 |
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| Modified date | 2024.10.08 |
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