寫眞山之形：從 「山水圖」、「山水畫」談道教山水觀之視覺型塑. (Chinese)

Shaping the True Mountains: “Shanshui tu”, “Shanshui hua”, and Visuality in Daoist Landscape. (English)

This study explores the visual characteristics of Chinese Daoist landscape. It also serves as a preliminary methodological exercise assessing the difference between and interrelationship of tu and hua — two distinctive but interconnected image types in Chinese visual culture. “Hua” refer to paintings. “Tu” refer to symbols, charts, diagrams, talismans, illustrations, pictures and maps. Even though “tu” have received little art historical attention, they were of signal importance in traditional Chinese visual culture because they often accompanied texts and were used to transmit knowledge. Given this importance they deserve much greater study. This paper consists of three parts. The first two are devoted to “shanshui tu” (landscape graphs and charts), while the third focuses on “shanshui hua” (landscape paintings). Part one, “The Mystic Visuality of Daoist True Form Charts,” investigates the unique set of images known as the “True Form Charts”. This discussion highlights four topics: mountain-based cosmology, the interconnectivity of mountains and writings, notions concerning entering a mountain, and the cartographic features underlying the True Form Charts of the Five Sacred Peaks. Part two, “The True Form of Fengshui,” analyzes visual features of Tang-Song fengshui imagery and evaluates their connection to Daoist True Form Charts. Here, I outline the key features of fengshui which are pertinent to this study. I then discuss two concepts which are essential to an understanding of fengshui imagery: the dragon versus the lair; and the shape versus the qi. In the third section, “The True Form of Landscape Paintings,” I shift focus from “shanshui tu” to “shanshui hua”. I examine well-known Liao, Song, and Yuan examples that share elements with the “shanshui tu” discussed earlier. I highlight three topics: a discussion of the grotto heaven and fengshui in a portable landscape scroll excavated from a Liao tomb, the concept of body and cosmos in Guo Xi's “Early Spring”, and Daoist visual characteristics (including references to inner alchemy) in Huang Gongwang's art and writings. [ABSTRACT FROM AUTHOR]

本研究藉由檢驗各種反映道教山水觀的圖象，進一步探索道教山水觀在唐宋 元時期的視覺型塑。文中探討的圖象資料，除了較為藝術史學界熟知的「畫」之 外，更多地引用了附屬于知識性文書中的「圖」，如道教的符圖、堪輿論著中的風 水圖等。從視覺文化的研究角度而言，「圖」除了一般較為人熟知的插圖外，還包 含各類圖案、圖表、圖型、地圖等。這些「圖」與泛指繪畫的「畫」相對，形成中 國視覺文化中的二大體系。全文將圖象分為「山水圖」和「山水畫」兩類進行討論 與比較。討論大綱分道教〈真形圖〉的神秘視覺、風水的真形、山水畫的真形等三 大部分。此研究的目的，一方面在探討如何從不同的圖象形式歸納出道教山水觀的 視覺特色，另一方面則希望從方法學上進一步檢討「圖」與「畫」之間的關聯。文 末總結「圖」與「畫」以多樣的視覺語言，生動地型塑體現道教山水觀的「真山之 形」。 [ABSTRACT FROM AUTHOR]

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