物外之境 = The World Beyond Things

陳衡恪（1876-1923，字師曾）在1922年發表的〈文人畫之價值〉中，便提出中國繪畫中的文人畫須具備文人趣味和思想，畫家的人品、學問、才情和思想是文人畫的四大要素。他強調，「畫之為物，是性靈者也，思想者也，活動者也」；而藝術「即在陶寫性靈，發表個性與其感想」。換言之，畫是物之一，繪畫作為知識生產的途徑和成品，屬於畫家主觀性的創造，畫作承載畫家的感悟和思想感情。高木森進一步闡釋文人畫的定義。他認為，文人畫並非全然出自文人之手，亦非全為遣興之作。他將文人畫的基本精神歸納為尚樸素、尚自然、重個性三大項，「就形式言，以樸素為原則；就題材言，要取之於大自然；就創作態度言，要發揮個性」。文人畫被視爲「墨戲」，展現畫家的個性和筆墨風格。中國傳統繪畫歷經數代的傳承與創新，繪畫流派紛呈，至十九世紀末，中國畫受到日本及西方繪畫的影響及衝擊，隨之而來的社會變革及全球現代化亦為之帶來挑戰和改變。正如高木森的說法，二十世紀的畫家已非傅統社會中的文人身分，然而書畫鑑賞家對中國畫的態度和品味仍以文人尊崇的簡淡為宗，而在取材方面，與大自然相關的山水畫科仍是畫家偏愛的題材。本文以「感物」所選的二十世紀繪畫作品為例，探討畫家如何表現山水題材，從中窺探其對山水的感悟及自然觀的呈現。

In his essay 'The Value of Literati Painting' published in 1922. Chen Hengke (1876-1923, courtesy name Shizeng) put forward the requirement of literati tastes and thoughts in Chinese literati paintings, wherein the painter’s character, knowledge, talent and thoughts constitute the four main essences. He emphasised that 'painting, as a thing in itself, is a spiritual being, a thinking being, and an active being'; that art 'portrays the spirit, expresses character and thoughts.' In other words, painting as a thing is both the channel and output of knowledge production, the painter's subjective creation, and carries with it the painter's sensibilities and thoughts. Further expounding on the definition of literati painting, Arthur Mu-sen Kao believes that literati paintings are not necessarily made by the literati, nor are they solely made for leisure and pleasure. He summarises the fundamental spirit of literati painting into simplicity, nature, and personality: 'ln terms of form, simplicity is the rule; in terms of subject matter, nature; in terms of attitude, the expression of personality.' Literati painting is regarded as 'ink play' that demonstrates the painter's personality and painting style. Following generations of inheritance and innovation, traditional Chinese painting is represented by multifarious schools. By the end of the 19th century, on top of the influence and impact brought about by Japanese and Western paintings, Chinese painting was further challenged and transformed by the ensuing social changes and global modernization. As pointed out by Kao, painters in the 20th century were no longer literati of the traditional Chinese society. However, calligraphy and painting connoisseurs still adhered to the literati ideals of simplicity and blandness. In terms of subject matter, nature in landscape painting was still favoured by painters. Taking 20th-century paintings of 'Sensing Things' as examples, this essay explores how painters approached the subject of landscape and their perception of landscape and representation of nature.