趙孟頫的《鵲華秋色》長久以來都被視為改變後來數百年山水畫發展的關鍵作品，但是它的製作卻從未得到充分的說明。本文試圖回到該畫製作之時趙孟頫在南方吳興的活動，重建其文化脈絡，並討論此山水畫中未曾被注意到的「懷古」表達，將之追溯到1200年左右時金朝在中國北方所發展的士人文化。

乙未自燕回的趙孟頫向他的江南友人們所展示的非僅止於他在北方所搜集的古代書畫，應該也包括了他在大都及濟南的文化見聞。從金代武元直《赤壁圖》、李山的《風雪杉松》到元初郭敏的《風雪杉松》，趙孟頫觀察到金代士人文化傳統中懷古山水畫的發展，以及其在金亡之後至元初的復興。他自己在乙未年所作的《鵲華秋色》也在畫他的濟南懷古，畫面設計亦可見對金代士人山水的繼承。除了繼承之外，趙孟頫也作了批判性的回應。他在山水畫中創新地使用渴筆描繪物象，實意在添加一層金代者所無的「古意」。

Zhao Mengfu’s Autumn Colors on the Qiao and Hua Mountains has been considered the most influential masterpiece that altered the direction of landscape painting for the following centuries; however, the cultural-artistic concern behind its making has never been fully explained. This study tries to reconstruct the social context when Zhao returned to his home in 1295 after his northern sojourn and completion of the landscape work to express the emotion of huaigu, a sentiment that could be traced back to Jin literati culture around 1200 in North China.

In his northern sojourn, Zhao not only collected ancient artistic works but also closely observed the situation of Jin literati culture and fully understood the huaigu practice in Wu Yuanzhi’s and Li Shan’s works around 1200, as well as Kuo Min’s revival of the practice in the 1260s after the fall of the Jin dynasty. Zhao’s Autumn Colors exhibits his huaigu concern at Jinan, and its pictorial structure reveals a close relationship with those of his Jin predecessors’ works. Nevertheless, Zhao’s response to Jin tradition is also critically oriented. His use of dry-brush idiom to incorporate an expression of antiquity is truly innovative and historically significant.

趙孟頫; 武元直; 李山; 金代文人文化

Zhao Mengfu; Wu Yuanzhi; Li Shan; Jin literati culture