廣東位於五嶺以南，偏居一隅，其藝文少受關注，而遊走於主流畫壇以外的廣東畫人更是長期被忽視。鄭績活躍於清道光、同治年間，著有畫譜《畫學簡明》，又名《夢幻居畫學簡明》，由九曜聚賢堂刊刻出版。全譜以畫科編次分為五卷，集山水、人物、花卉、翎毛和畜獸的法訣及圖式，是晚清罕見的一部題材全面、體例完備的畫譜著作，其藝術及畫學價值值得深入研究。本文首先通過考察鄭績的生平與交遊去確立他在廣東文壇的地位，其次研究《畫學簡明》的畫學思想、技法與圖式，藉此揭示畫譜在晚清、歷代畫藝傳承中的角色和意義。畫譜同時呈現出跨地域、跨文化的移動和傳播，當中的圖像於廣東、日本流傳，對於瞭解不同文化交流的具體內涵，無疑提供了最直接的窗口。

Guangdong, located in the south of the Five Ridges, has received less attention from scholars on the accomplishment of its art and literature, whereas Guangdong painters outside the mainstream of the painting circle have also long been neglected. Zheng Ji who was a Guangdong painter active in the Daoguang and Tongzhi reign of the Qing dynasty created a painting manual Huaxue jianming (A Comprehensive Guide to Painting), also known as Menghuanju huaxue jianming (A Comprehensive Guide to Painting from Menghuanju Studio). The manual was printed and published by Juxian Tang (Talents Gathering Hall) in Guangzhou. It was divided into five volumes (juan) of landscape, figures, flower-and-bird, and animals, making it a rare and comprehensive painting guidebook of the late Qing dynasty with both textual explanations and pictorial illustrations. Considering its artistic and educational values worthy of in-depth study, this paper firstly examines the position of Zheng Ji in Guangdong literati circle by investigating his life and social circle; then studies the painting ideology, techniques and pictorial illustrations of the manual so as to demonstrate its significance and role played in the artistic inheritance and art education of the late Qing era. In the meantime, the circulation of the manual in Guangdong and Japan reveals a cross-regional and cross-cultural characteristic which provides the most direct window for understanding the connotation of Sino-Japanese cultural exchange of the time.

畫學簡明; 鄭績; 畫譜; 夢幻居; 廣東

Huaxue jianming; Zheng Ji; painting manual; Menghuanju; Guangdong