中國畫史的重建大約進行了半個世紀，在早期發展部分，卻仍舊無法突破。其間有實證學風的風格研究，重新理清傳世古畫的時代問題。然而，風格研究並未能具體解決傳世早期作品的作者判定問題。相較而言，中國自唐代張彥遠《歷代名畫記》以來的畫史論述，除了針對形式的敘述外，也強調畫意的重要；北宋郭若虛在《圖畫見聞誌》中更是積極運用「畫意」組構畫史。然而一旦畫作的時代產生混淆，畫意溯源的工作也就無法有效轉化出有效的歷史知識，惟此一缺失，或可透過擅長處理斷代問題的風格研究進行補救。本文即擬以現藏 The Metropolitan Museum of Art 的傳董元《溪岸圖》為例，嘗試綜合風格與畫意之研究途徑，來進行為五代南唐畫家董元在中國早期山水畫史中定位的工作。《溪岸圖》的山石描繪，是不留筆痕的擦染方式，樹幹亦著重於立體性的結構關係，除了個別物象外，樹叢或山體結組的空間觀念，都指向北宋之前的年代。就畫意表現考慮，《溪岸圖》描寫江山環繞的隱士居家景象與西元十世紀南唐宮廷所流行的「江山高隱」關係密切。再由其收藏著錄資料來看，將之歸予南唐山水畫家董元名下，更可釐定「江山高隱」此種山水類型在畫史上的動態發展。

Although modem scholars have been engaged in reconstructing the history of Chinese painting for over half a century, efforts to trace the development of painting during the early period continue to face a variety of evidential problems. While stylistic analysis has clarified the date of many early works, it has failed to soundly resolve questions of authorship. From as early as the T'ang dynasty Li-tai ming-hua chi of Chang Yan-yüan, traditional scholars of Chinese painting not only engaged in discussions of form, but also emphasized the importance of hua-i (variously translated as “expressive intention” or “thematic content”). The Northern Sung T'u-hua chian-wen chih of Kuo Juo-hsü utilized hua-i as one of the organizing criteria for the history of painting. Although the examination of hua-i alone cannot fully resolve questions of chronology and authorship, it can serve as a useful tool in conjunction with stylistic analysis.

This paper intends to analyze both the style and hua-i of Riverbank, a work attributed to the Southern T'ang artist Tung Yüan that is now in the collection of The Metropolitan Museum of Art. By combining the insights garnered from these two analytical approaches, it will attempt to locate Tung Yüan's place in the early history of landscape painting. The stylistic features of Riverbank-the absence of textural detail and distinct texture strokes, the emphasis placed on the three-dimensional structural relationships of the tree trunks, and the spacial arrangement of the trees, mountains, and other physical elements-all point to a work that predates the Northern Sung. From the standpoint of hua-i, the image of the scholar as a hermit, surrounded by mountains and a river, is closely related to the ideal of chiang-shan kao-yin (lofty reclusion amid rivers and mountains) that was popular in the 10th century Southern T'ang court. Furthermore, the paper also draws evidence from written records and authenticate the painting as the work of Tung Yüan in effort to clarify the historical development of chiang-shan kao-yin as a specific landscape theme.

董元; 溪岸圖; 南唐; 山水畫; 隱居

Thng Yüan; Riverbank; Southern T'ang; Landscape Painting; Hermitage