山水畫論中「靜氣」的理論與實踐意義—以惠崇與傅抱石之「平沙落雁」圖為例

<p>古代中國山水畫美學在表現手法上，由於得自老莊之「虛靜」觀的影響，「靜」這個觀念為山水畫論所吸收，成為山水畫之創作與審美實踐的重要理念，尤其是在清代以後，「靜」的觀念在畫論裡可見獲得高度的重視，而有所謂的「靜氣」之說，直至近現代的中國畫壇受到西方繪畫技藝的影響，「靜氣」之說才罕見於近代畫論中。 本文先從唐宋以來山水畫論的文獻材料中提及「靜」之意涵者來看，就其中足以表現山水畫之精神意義者做一番探討，以見「靜氣」之說如何成為清代山水畫論中的亮點。再以兩幅同名為「平沙落雁」圖的山水畫（[宋]惠崇的小景畫及民國以後傅抱石之畫作）為例，來分析與探討「靜氣」的意涵如何在山水畫作中體現。</p> <p> </p><p>The concept of “Tranquility,” one of the concepts in original Taoist and Zen theories of self-cultivation was gradually absorbed by the theories of ancient Chinese landscape painting as an essential concept of creation and aesthetic practice in later generations. This paper analyzes and explores how “Tranquility,” was depicted in landscape paintings. Landscape painters valued “body energy of Tranquility” in their painting theories during the Qing Dynasty. They indicated the “body energy of Tranquility” as the key to landscape painting. Until modern China, landscape painting painters still emphasized its importance. We delve into the elements that vividly express the spiritual importance of landscape painting, intending to illustrate how the concept of “Tranquility,” emerged as a central theme in ancient Chinese landscape paintings. To bring these ideas to life, we examine two remarkable landscape paintings: “Wild Geese Descending on the Sandbank,” a captivating miniature landscape painting by Huichong from the Song Dynasty, and a thought-provoking piece by Fu Baoshi from the Republic of China.</p> <p> </p>