在美術史學界中，對於十八世紀的中國山水畫的發展，一直存在著一種誤解。這種誤解基本上來自於研究者將「風格創新」視為山水畫歷史發展的唯一價值。在採取這個價值取向的時候，畫家的山水畫製作，不論是來自於對自然的學習，或是對過去形式傳統的詮釋，都被置於是否有所「創新」的標尺來檢視，並依之建構一個山水畫的發展序列，訂出其中的「大師」以及他們風格的「超越性」。依此史觀來論中國的山水畫史，十七世紀便是最後一個值得討論的時代，不僅所謂「個人主義」的石濤、八大山人等人，因其風格之「獨創」而被頌揚，對追求「集大成」的「正統派」成員自董其昌下至王原祁等人，也因其風格對「傳統」的「新詮」，而被尊崇。相對之下，十八世紀只能是一個「衰落」的時代。

本文試圖由一個不同於「創新」的史觀來重新理解十八世紀的中國山水畫。山水畫的主題永遠是畫家與造化自然間之互動。歷史的形成除了一波波的「創新」之外，更主要的動力來自於如何基於前人成果之上，以有效的方式回到那個永恆的主題。相對於十七世紀所提出的山水畫超越自然景觀的見解，十八世紀山水畫的重點關懷則是在解消此對立的緊張關係，從「以筆墨合天地」進行繪畫與自然的調合。它的發展自有其積極而正面的歷史意義。

「以筆墨合天地」的具體落實可見於十八世紀畫家如何以其繪畫語言詮釋實景的問題之上。本文將重新考察過去飽受酷評的宮廷山水畫作品，並對其中向來被單純地視為「實景山水」的作品另作解讀。在相關的諸多畫家中，本文將特別注意討論如高其佩、李世倬等出自滿州之畫家，以及一般被歸類為「正統派末流」的鄒一桂、董邦達等「詞臣畫家」。對他們山水畫的重新理解，將有利於修正十八世紀久被漠視的歷史定位。

In most of the writings on the history of Chinese landscape painting, the eighteenth century has been considered as a period of decline for its lacking of distinctive stylistic innovations. This study tries to reexamine landscape works from the period, especially those executed at the court under enthusiastic supports from the imperial house, adopting a viewpoint which no longer treats innovation as the only criteria but focuses on the interactive relationship between painting and the creation of nature as the primary concern.

With an active participation of the imperial house of the early Qing dynasty, the development of the landscape painting at court reoriented the relationship between “brushwork” (bimo) and natural landscape from competitive to harmonious. It led to the emergence of landscape paintings with very different formal structures as well as expression from that of the seventeenth century. Works by painters from Manchuria region and scholar-court officials used to be classified as “the followers of the orthodox school” are discussed in detail with special attention on their representations of natural scenery. The result of this study hopes to redefine the long neglected significance in the history of Chinese landscape painting.

十八世紀山水畫; 實景山水; 清代宮廷繪畫; 筆墨; 詞臣; 正統派; 董邦達

Chinese landscape painting in the eighteenth-century; natural landscape; cout paintings of the Qing dynasty; brushwork; scholar-court officials; the orthodox school; Dong Bangda