明代中期以後的紀遊山水，學界嘗以「實景山水」稱之，從而忽略了對其畫意的探討。本文將視角集中在明代中期以後洞天福地紀遊山水之上，藉由歷史脈絡、風格分析以及畫作意涵等方面對吳門畫家沈周、謝時臣、陸治等筆下的洞天福地作品進行分析。其中尤其以《遊張公洞圖》、《白嶽紀遊圖》、《洞天福地圖卷》等為典型案例，闡發道教名山的洞穴母題、仙境元素如何構成早期「奇觀山水」的圖像志表徵。這些「洞穴」與「仙境元素」也成為晚明「奇觀山水」圖譜「奇」的視覺焦點。本文認為明代中後期的洞天福地紀遊圖往往通過對仙境的闡發與想像構成了早期「奇觀山水」的主要內涵，這類作品和圖譜也成為十七世紀中國山水畫史上以描繪黃山為基礎的「奇觀山水」風格類型的前奏。

The landscape paintings depicting travel experience after the mid-Ming period are often categorized in the academic discourse as works of “realistic landscapes”, but such viewpoint can result in omitting the meaning making behind the pictorial representation. This paper thus takes an analysis approach from perspectives on the historical context, styles and interpretations in the landscape paintings of travel records and focuses its investigation on the motif Daoist grotto-heavens and blessed lands after the mid-Ming period. The analysis covers representative works by the members of Wu School, such as Shen Zhou, Xie Shichen, and Lu Zhi. Among the relevant artworks are Outing to Zhang Gong's Grotto, Record of Travel to Mount Baiyue, as well as Scroll of Grotto-Heavens and Blessed Lands the typical examples. The study elucidates how the elements of caves and celestial realms in Daoist sacred mountains were used to represent the iconographic image of the early “spectacle landscapes.” These elements also became the focal point of “the strange” (qi) which formed the “spectacle landscapes” in the visual art of the late Ming period. The paper argues that paintings with grotto-heavens and blessed lands in the period were often depicted through elaboration and imagination of divine realms as the core content of the early “spectacle landscapes”. Such works and pictorial conventions also foreshadowed the “spectacle landscape” style in the seventeenth century Chinese landscape paintings that centered the scene on depicting the Mount Huang.

沈周; 陸治; 洞天福地; 紀遊圖; 奇觀山水

Shen Zhou; Lu Zhi; grotto-heavens; painting of travel records; spectacle landscapes