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講者:李冠良(浸會大學當代中國研究社會科
學碩士、香港中文大學藝術文學碩士)
講座地點:香港人文學會 / 講座日期:2024年
6月21日
 蔡仞姿女士是芯駖於浸大CVA一年級讀素描基礎課
的恩師(圖為蔡女士於香港藝術館展出的畫作)
 近似宋徽宗《蠟梅山禽圖》的「絲毛
法」,鈦白薰染鳥兒腹部做法,然後點
綴洋紅作頸部的陰影漸變。
 近似清代「八大山人」朱耷的「減筆畫」,
如《春柳栖鴉圖》的枯墨及破墨效果,有輕、
重、疾、徐、頓、挫、提、按的章法。
 近似北宋「蘇黃
米蔡」之一黃庭
堅的「草聖」書
風用墨表現,如
《廉頗蘭相如傳
卷》,有「露鋒」
及「逆鋒」的章
法,亦有乾墨帶
來的些微砂筆,
有屋漏痕之意。
 明代「吳門畫派」之一沈周的筆墨秀氣畫法,山石有
「米點皴」,褚石渲淡上留有清代唐岱《繪事入微》
所述「以色助墨光,以墨顯色彩」的精神。
 近似元代倪瓚《幽澗寒松圖軸》的荒涼意境,尤如倪瓚為元代
畫家張遜《雙鉤竹圖卷》題跋所述:
 「霜松雪竹當時見,筆底猶存歲宴姿。文采百年成異物,西風吹淚
鬢絲絲。髯張用意鐵鈎鎖,書法不凡詩亦工。清苦何憂貧到骨,筆
端時有古人風。」(歲壬寅{1362}九月六日笠澤道館東齋)
 近似明代唐寅《墨梅圖軸》,有如元代柯
九思所述:「寫幹用篆法,枝用草書法,
寫葉用八分,或用魯公撇筆法……」
 近似北宋「蘇黃米蔡」之一蘇軾《中山松
醪賦》,墨戲隨性,形態上古拙、寬博,
略呈扁狀,點畫豐厚似顏體,瘦勁時又有
含蓄之處,有金石碑刻的「金石味」。
 近似清代鄭簠《臨
婁壽碑》的隸書風
格:
 橫畫的寫法重頓輕捷,
落筆處重壓然後提筆
牽帶,按筆出鋒,橫
畫及捺筆拉長向上揚
起,撇捺末端稍呈飛
白,字體流暢,減去
唐隸的棱角。儘管兩
篇布白齊整行列分明,
但粗細虛實變化増加
了靈動活潑氣息,筆
畫圓潤而靈活,通篇
沒有板滯感覺。章法
上字距寬疏,更是來
自漢碑隸書的重要特
點。
 近似清代虛谷《染畫冊頁》的淡墨勾股及鈦白渲淡,兌現「惜
墨如金」的精神,正如清代戴熙《習苦齋畫絮》所述:「肆力
在實處,而索趣在虛處」及「畫在有筆墨處,畫之妙在無筆之
處」,有形的墨線及鈦白色倒要靠無形的虛空來產生靈境。
 跟南宋牧谿、北宋米芾、
北宋蘇軾一樣把唐代張璪
及王維的水墨精神發展成
更傾向「減筆畫」的虛淡
境界。
 《蘇東坡集》續集卷十二
《傳神記》:「傳神與相
一道。欲得其人之天,法
當於眾中陰察其舉止。今
乃使具衣光坐,注視一物,
彼斂容自持,豈復見其天
乎?」
 《蘇東坡集》續集卷三十一《淨
因院畫記》:「余嘗論畫,以為
人禽宮室器用,皆有常形;至於
山石竹木,水波煙雲,雖無常形,
而有常理。常形之失,人皆知之,
常理之不當,雖曉畫者有不知。」
 漢代司馬談《史記.太史公自
序》:「凡人所生者,神也;所
托者,形也。神大用則竭;形大
勞則蔽;形神離則死。……神者,
生之本也;形者,生之具也。」
 描繪了被尊為神聖天皇的仁德天皇的「人民灶門」
的一段情節:「登上高樓,就會看到人們的爐邊
炊煙裊,熙熙攘攘。」
 近似南宋馬遠《華燈侍宴圖》工寫屋簷樑柱之畫
風,配以渲淡背景凝造荒寒「大氣磅礡之氣」。
 近似管偉邦《菉竹猗猗》畫風,在鳥之子金箋
畫卡上以石綠工寫葉莖藤根,凝造像青苔滋生
之沼澤潮濕感。
 專書:
 董欣賓、鄭奇 著:《中國繪畫對偶範疇論(中國繪畫原理論稿)》,江蘇:江蘇美術
出版社,1990年4月第一版。
 馬重奇、周麗英 編著:《高級補充程度中國語文及文化科.中國古代文化知識趣談
(第三版)》,香港:導師出版社有限公司,2003年重印版。
 王耀庭 著:《華夏之美.繪畫》,台北:幼獅文化事業公司,中華民國七十四年十一
月初版。
 李唐 著:《宋徽宗》,香港:香港宏業書局,1981年2月版。
 蔣勛 著:《寫給大家的中國美術史》,北京:生活.讀書.新知三聯書店,1993年3
月初版,2000年6月重印。
 Wan Qingli, Lau Chak-kwong, Koon Wai Bong. “Highlights of Dao Revealed
through Brush and Ink: Chinese Paintings and Works of Calligraphy & Seal
Engraving by Wan Qingli, Daniel Lau Chak Kwong and Koon Wai Bong”
(bilingual). Hong Kong: Academy of Visual Arts, Hong Kong Baptist University, 2009,
ISBN: 978-988-99763-5-4.
 文集論文:
 李潤桓:〈倪瓚書跡研究〉,載高美慶 主編:《新亞學術集刊.中國藝術專號(第四
期.1983)》(香港:新亞學術集刊編輯出版委員會,1983年出版),頁279-302。
 何碧琪:〈明末清初文化社會氛圍與隸書發展〉,載莫家良主編: 《學道揚塵.中國
藝術史論文集》,香港:香港中文大學藝術系, 2003年12月初版,頁43-64。
 圖錄:
 Written by Joseph Chang and Qianshen Bai, Edited by Stephen D. Allee. “In Pursuit
of Heavenly Harmony – Paintings and Calligraphy by Bada Shanren from the
Estate of Wang Fangyu and Sum Wai”. The United States: Freer Gallery of Art,
Smithsonian Institution, Washington D.C, in association with Weatherhill
Incorporation; 1st Edition in 2003.

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Sumling's art conoisseurship at Fujita Museum