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元文宗的宮廷藝術與北宋典範的再生

The Court Art of Tugh Temür and the Regeneration of Northern Song Paradigms

摘要


過去我們對蒙元宮廷藝術的印象總以為高級工藝美術的地位遠遠勝過繪畫,並將此現象歸因於蒙元統治階層所出身的草原文化。本文擬對此大體印象作出修正,指明在元文宗時期的宮廷中確曾重視過繪畫的表現,不僅大汗對古畫收藏極感興趣,還推動了當時若干畫科的新發展,包括向來認為宮廷未懂得欣賞的山水畫一科。這意味蒙元統治階層對傳統中原文化的態度其實頗有彈性,且能因應時局所需,進行合宜的互動調整。為了突破現存當時宮廷繪畫作品資料極度受限制的窘境,本文視唐棣為廣義的宮廷畫家,並嘗試以其《霜浦歸漁圖》、《仿郭熙秋山行旅圖》等作品來重建這部分的文宗宮廷繪畫樣貌。蒙元世界東緣的高麗宮廷所製作的《水月觀音像》以及稍後朝鮮安平大君所主導的《夢遊桃源圖》,也可以作為重建的線索。這些零散的資料,在經過重新串連之後,不但得以一窺以奎章閣為主的元後期宮廷藝術,還透露出其中對北宋宮廷典範的積極「再生」意識。奎章閣的這個成果並非僅是曇花一現,後來在明初宮廷文化中仍有繼承。今日所見永樂、宣德時期宮廷藝術的精華部分,實皆有再造宋代典範的企圖。如由十四世紀三十年代以來的東亞宮廷文化發展脈絡觀之,中、韓地區對宋代文化典範的共同追求,也值得我們在今日以世界史格局治蒙元史的學術熱潮中,汲取作為反思之用。

關鍵字

元文宗 圖帖睦爾 宮廷藝術 奎章閣 唐棣

並列摘要


In the past, we have had an impression that the status of high-class arts and crafts was far higher than that of painting in the Mongol Yuan court art, and attributed this difference to the grassland culture from which the Mongol Yuan ruling class originated. This article attempts to correct this overall impression by indicating that the Yuan court in the reign of Tugh Temür did value painting. The Great Khan was not only highly interested in collecting ancient paintings, but also facilitated the new development of several painting categories, including landscapes, a category that the court had been considered to have failed to appreciate. This implies that the Mongol Yuan ruling class held a relatively flexible attitude toward the traditional Central Plain culture, and could make pertinent interactions and adjustments according to the current political situation. To address the problem of having extremely limited data about the existing court paintings of the period, this article regards Tang Di as a court painter in a general sense, and attempts to reconstruct the picture of court paintings in the reign of Tugh Temür through Tang's works such as Fishermen Returning on a Frosty Bank and After Guo Xi's "Travellers in Autumn Mountains." The Water-Moon Avalokiteśvara produced by the Goryeo court and later the creation of the verse scroll Dream Journey to the Peach Blossom Land led by Prince Anpyeong during the Chosŏn dynasty in the eastern edge of the Mongol world are also adopted as clues for the reconstruction. After re-association, these fragmented data not only shed light on the later Yuan court art centring around the Kuizhang Pavilion, but also reveal the court's intention to actively "regenerate" Northern Song court paradigms. The achievements of the Kuizhang Pavilion are far from short-lived; instead, its heritage and influence continued to remain in early Ming court culture. The quintessence of the court art in both the Yongle and Xuande periods has in fact exhibited the intention to reproduce Song paradigms. In the context of the development of East Asian court cultures since 1330s, the pursuit of Song cultural paradigms in the China and Korea regions can be used for reflection in the academic surge of interest in exploring and contextualizing the Mongol Yuan history from a world-history point of view.

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