盡物之情態－北宋題畫活動與徽宗朝花鳥的畫史意義

宋徽宗朝花鳥畫成就，長久以來一直是學界關注課題。其多數存世作品上詩畫二種藝術並呈，從詩畫關係切入的研究觀點也因此成為重要角色。不過，由於詩畫關係的論述容易因主觀作用招致批評，解讀圖像與文字之際，其二種藝術類型的互換過程如何取得共識，亦是此類研究的挑戰。本文的研究取徑，擬從「題畫文化」的視野進行修正，旨在留心題跋活動之歷史脈絡研究，從詩文、圖繪各別藝術型態的分析，更為深入其題詠創發活動之際的互動歷程。而透過這一脈絡研究的思考，冀能對徽宗花鳥中的詩畫成就提出新的解析，以能掌握其畫史意義。全文首先將透過北宋中期士人論畫強調形意二元的新趨勢，觀察其對北宋徽宗朝階段之作用。其次，解析《宣和畫譜》敘論文字，釐清「形意」二元論畫趨勢的延續情況，而此趨勢也與徽宗畫學目標互有作用。再從《宋會要輯稿》重新掌握北宋瑞異活動以及其呈報瑞物流程，可知徽宗題詩是一新增程序，更成為確認瑞物的重要環節，顯示徽宗題詩與圖繪之間的緊密相輔程度。接著，本文將分別解析《祥龍石》、《五色鸚鵡》、《蠟梅山禽》與《芙蓉錦雞》之詩畫內容，由於並重「形意」進而說明這些徽宗朝花鳥畫並非可任意解讀詩文、圖繪的素材。其功能明確為朝廷畫院之製，既是聖人治世之績，也是君臣共覽之物，對其內容意義的解讀當限於此一政治架構內。

關鍵字

宋徽宗；徽宗畫學；北宋花鳥畫；瑞異；祥瑞圖繪；題跋活動；題畫文化

並列摘要

Bird-and-flower paintings from the reign of Song Emperor Huizong have long beena popular area of research among scholars. As most extant bird-and-flower paintingsfrom this period come with poems, the relationship between painting and poem occupiesa significant position in the research on these paintings. However, this type of researchis often criticized for its tendency to use subjective interpretation. While scholars seekto interpret the paintings’ imagery and text, coming to a consensus about how the twoart forms interact is a challenge that has yet to be overcome. The present study will takea different direction from the methods of previous research by investigating the cultureof painting inscriptions and will focus on the historical context and development ofinscriptions and analyze poems and images to deepen our understanding of how theyinteract. By examining this relationship from the perspective of the culture of paintinginscriptions, it is hoped that this paper can shed new light on the bird-and-flowerpaintings of the Huizong reign and their significance in the history of Chinese painting.This study will first discuss a new trend in the mid-Northern Song dynasty, in whichliterati focused on both form and meaning when evaluating paintings, and proceed toexamine how this new trend influenced court paintings during the reign of Huizong.Next, we will analyze the texts in the Xuanhe Huapu [Xuanhe painting catalogue] toinvestigate the continuation of the trend, which influenced and was influenced by thecourt painting aesthetics of the Huizong reign. Third, the study will use the Song HuiyaoJigao [Song dynasty manuscript compendium] to examine the ruiyi (auspicious omens)recorded during the Northern Song dynasty and the approval process. It will be suggestedthat Huizong’s writing poems to complement pictorial records of auspicious omens wasa new and important part of the approval process. Last, the study will analyze the poemsand images in the following four paintings: Auspicious Dragon Rock, Five-ColoredParakeet, Birds in a Blossoming Wax-Plum Tree, and Hibiscus and Golden Pheasant.Because of their equal emphasis on form and meaning, these bird-and-flower paintingsproduced during the Huizong reign were not subject to arbitrary image compositionor interpretation; instead, they were produced by the imperial painting academy torecord peaceful and prosperous times under the rule of sages and for the perusal of theemperor and his officials. Any interpretation of these paintings has to be effected with anunderstanding of this political framework.

並列關鍵字

Song Emperor Huizong ； Huizong’s aesthetics ； Northern Song dynasty bird-and-flower paintings ； auspicious omens ； auspicious paintings ； colophons ； painting inscriptions