本文企圖透過五件徐渭墨葡萄的畫面分析，來討論徐渭這些可以歸為「墨戲」作品是如何製作的。而這些製作又如何關係到他的抒情表現，即袁宏道講的「磊塊不平之氣」。這五件墨葡萄的作品分別是，東京國立博物館的《花卉雜畫卷》、北京故宮的《煙雲之興》、南京博物院的《雜花圖卷》、美國私人收藏的《雜畫冊》以及北京故宮的《墨葡萄軸》。過去學界之研究亦都認為，徐渭繪畫作品的墨戲是否與其抒情有關是徐渭研究的一大關鍵，但常苦於墨本素材之真偽相雜而不能成功。 本文即在此基礎上對徐氏的水墨風格：包括一、水墨的寫照/狀物效果，二、對既有圖式成規之破壞，三、筆墨速度與其不平之氣的隨性表達等，進行分析。這些分析意在突破前人含糊不清之處，尤以第三項者最為要緊，本文成立與否，或即繫乎於此。

This paper aims to discuss Xu Wei’s artistic efforts in ink playing through an analysis of his five artworks on ink grapes. It explores his creation of the art and how it has the relevance to the artist’s emotional expression, namely the expression of “leikuai buping zhi qi (the indignant state of mind)” as referred by Yuan Hongdao. The five artworks of ink grapes are Huahui zahua juan (Miscellaneous Scroll Painting on Flowers) in Tokyo National Museum, Yanyun zhi xing (Inspiration of Cloud and Mist) in The Palace Museum, Zahua tujuan (Scroll Painting of Miscellaneous Flower) in Nanjing Museum, Zahua ce (Album of Miscellaneous Paintings) from an American private collection, and Moputao Zhou (Scroll Painting of Ink Grapes) in The Palace Museum. In previous studies, researchers generally agree that the relation between ink play and artist’s emotional expression is one of the keys in terms of studying Xu Wei’s art. However, it is often challenging to benefit from this approach due to lack of sufficient access to the authentic ink artworks.

Based on this, the paper investigates Xu Wei’s ink art style in the following three dimensions: the depiction and representation of object with the ink washing effect; the rule-breaking in conventional schema; the speed of brush stroke movement and the artist’s spontaneous expression of indignation. The investigation seeks to clarify the arguments in previous research, with an emphasis on the last dimension stated above, as it should play the pivotal role in demonstrating the thesis in this paper.

徐渭; 日觀; 墨葡萄; 墨戲; 袁宏道

Xu Wei; Wen Riguan; ink grapes; ink play; Yuan Hongdao