畫怎麼「聽」？鐵劃銀鉤、氣韻生動，如何聽出個所以然來？「觀」畫必須用「心」，不為人惑，方能與藝術的生命彼此感盪，成就個人具體獨特的境界。《聽畫》一書以倒敘的手法，審顧一位書畫收藏與「鑑賞」家，以自身「失明」前後所見的藝術生命與藝術經驗，揭示出藝術的觀看之道﹔包括審美心態、創作理念、辨偽考證、投資典藏與閱覽手法等方面，皆有發聾啟瞶的批判。本文之詮釋進路，乃以「文化人格」的命題為基礎，並結合「生命美學」的層境說、以及「捲軸時空論」，積極朝向書畫捲軸思想的建構。無論是「定點透視」與「移動視點」的差異、人物畫的傳移摹寫、法帖鈐印的心理狀態、建築園林的意匠寄託，抑或是美術史上許多既存盲點的疏通去礙，對於藝術的信仰者而言，凡此種種，誠是可以彰顯出層層殊異的境界。這些非凡的歷鍊，在通向於「道」的過程中，透過捲軸式的有情觀照，無不隱藏著「生命劫毀」的悲哀。本文希冀能夠確立書畫捲軸美學的論述，對於現代小說與藝術而言，將有助於開啟一個兼容並蓄的文化視域。

How can a painting be heard? How can sublime lines and vivid spirits be heard? It is necessary to“look at”a painting with“heart and soul”without bewitchment, then one can achieve his unique spirituality. Hearing a Painting inspects by means of flashback a collector and connoiseur of graphics, who discloses the way how to see the arts by contrast of the life and experiences before and after his blindness. About aesthetical mentality, ideas of creation, criticism, investment, accession, and methods of reading, there are illuminating critiques in the book. The interpretative approach of this paper is based on the concept of“cultural character”, combined with the levels of“aesthetics of life”and with the concept of“makimonolish space and time”, in order to construct a theory of graphic makimono. Differences between fixed perspective and transferring perspective, copies of portrait, mentality of graphics, the significances bestowed in the architecture or the solving of problems in the history of fine arts— , to the man who believes in arts, all of these manifest different horizons varied from different level. These extraordinary experiences, in a process leading to“Tao”, imply the affliction of“life-annihilation”by means of makimonolish way of looking. This paper tries to establish a discourse of graphic aesthetics, which will help to open a comprehensive horizon of culture.

文化人格;生命美學;書畫藝術;捲軸裝裱;移動視點

cultural character(文化人格); aesthetics of life(生命美學); graphic arts(書畫藝術); makimono-mouting(捲軸裝裱); perspective-transferring(移動視點)