| 摘要: | 若以時代角度觀之，江戶在藝術上有多元、多面向的發展，其中包括繪畫、版畫及陶瓷器等等，而這些發展都直指日本美術中重要的議題—裝飾性及工藝性。要說此一時期的日本繪畫代表，莫過於琳派（Rinpa）。
琳派是日本17、18世紀的裝飾畫派，是安土桃山時代後期興起並活躍至近代的流派，以裝飾性和視覺設計為主，它追求純日本趣味的裝飾美，在日本美術史上占有重要位置。
琳派以尾形光琳（Ogata Korin, 1658-1716年）為鼎盛人物，往前可以推至本阿彌光悅（Honami Koetsu, 1558-1637年）及俵屋宗達（Tawaraya Sotatsu, 活躍於17世紀前後），往後則有酒井抱一（Sakai Hoitsu, 1761-1828年）、鈴木其一（Suzuki Kiitsu, 1975-1858年）等人。這幾位琳派畫家生活的年代並沒有重疊，也沒有實質上的接觸或者師承關係，琳派的成形完全僅是後人對於前輩畫家們的景仰與崇拜，進而學習效仿的私塾關係。琳派之名取自尾形光琳，然而琳派這一流派的概念並非在尾形光琳的時代就已有之，而是酒井抱一在1815年尾形光琳逝世100周年時，才真正有意識地將這樣的傳承視為一種流派。
琳派的影響波及到日本繪畫和工藝美術，特別是在染織、漆器和陶瓷等方面。其裝飾意匠被採用在與人民生活有關的各個領域裡，對近現代日本民族審美意識產生極大影響。
琳派的工藝脈絡主張「先取市井通俗之裝飾，後得高潔深邃之境界」；承襲自安土桃山時代的繪畫視覺，構圖奔放、色料綺麗，好用大量金銀箔粉與金工鑲嵌，總述出雍容華貴、質變為湛然幽玄，非常具有裝飾性。琳派的始祖為俵屋宗達與本阿彌光悅等人，他們運用精準的主題與分割的裝飾來相生相剋，演繹陰陽相數，推演易理太極，並且意外地融合歐陸的彩繪元素，與異化了中國嶺南畫派的花鳥、山川、園林、文人，匯聚成當時的文創事業。
不管是陶瓷或漆器，還是染、織、印刷、金屬加工等手法，琳派都打破了各個素材間的局限。質地、胚子或質感跟嶄新的設計一體化後，功能和美感在一個支點上形成互相牽引並且深深植入日常生活之中，因此讓筆者想更深入地了解它，並欲將「天地化育」的議題和琳派裝飾風格融入在自己的作品裡。
From the view angle of an era, the Eido era has diverse and multi-faceted developments which include painting, block print, and ceramics. All these developments point to an important issue in Japanese art-decorativeness and craftsmanship. The painting representative in this era was none other than the Ringpa (Rin School).
Ringpa was the decorative painting school in the 17th and 18th-century Japan. It arose at the end of the Azuchi Momoyama era and stayed active until the modern times. It was mainly of decoration and visual designs. It pursued the pure decorative beauty of Japanese joy and occupies an important position in the Japanese art history.
Ogata Korin,1658-1716 was the most active figure in the Rinpa. Tracing back further, there were Honami Koetsu, 1558-1637 and Tawaraya Sotatsu, active around 17th century. Looking down the history were Sakai Hoitsu, 1761-1828, Suzuki Kiitsu,1975-1858 and others. The times of these Rinpa artists did not overlap and there was not actual contact nor teacher/apprentice relationship among them. The formation of Rinpa was entirely the relationship due to the admiration and respect of these former masters by the later people who started learning and imitating in private schools. The name of Rinpa came from the name of Ogata Korin. However, the concept of Rinpa was not formed in Ogata Korin’s time, but rather, it was Sakai Hoitsu who realized, at the centennial memorial of Ogata Korin’s death in 1815, that cognitively regarded such heritage of style as a school.
The influence of Rinpa extended to Japanese arts and crafts especially in dye weaving, lacquerware, and ceramics. The decorative connotations were widely deployed in various areas related to the life of the people and has delved a great impact of the sense of art appreciation in the Japanese people.
The context of the Rinpa is ‘take the decorations of the banal and mundane first and arrive at the level with deep meaning’. Inheriting from the painting vision of Azuchi Momoyama era, the paintings were open and wild with beautiful colors, lots of gold, silver foil powders and gold inlays that always displayed elegance, and transformed into sophistication and classiness, very decorative. The forefathers of Rinpa were Tawaraya Sotatsu, Honami Koetsu, and others. They deployed precise themes and the divided decorations to correspond and antagonize each other, purporting Yin and Yan, deducing the changes of Taichi, and surprisingly combined the elements of European continental color painting and the birds and flowers, mountains and rivers, scholars in the Southern Mountain school of Chinese paintings into the cultural industry in that era.
Whether it’s ceramics or lacquerware, or dying, weaving, metal processing technique, Rinpa has shattered the limitation among the elements. After the integration and unification of texture, mold, or quality with brand new designs, the function and the aesthetics form an interactive attraction on a fulcrum that are deeply rooted in daily life, making the writer wanting to get to know more deeply about it and infusing the theme of ‘nurtured by heaven and earth’ and Rinpa’s decorative style into his own work. |
