十八、十九世紀中韓新文物陳列圖像之傳播―以冊架圖為中心

中國有悠久的收藏文化傳統，文物與文物收藏相關圖像的出現，也影響了中國藝術史的發展。到了晚明時期，文物收藏者隊伍也不斷擴大，古董文物主要是爲了家庭陳設，顯示主人的博雅與好古成為時尚。文物相關圖像到了明清時期有了新的變化，人們對文物的利用、陳列與裝飾的興趣，開始反映到了繪畫題材上，而且相關視覺圖像也開始出現流行。主要在明代大約萬曆年間版畫開始出現文物陳列與利用相關的圖像，逐漸流行到瓷器上成為裝飾紋飾。到了清初期康熙年間碗礁一號出水瓷器等例子中，可以看到新文物圖像不僅大幅被採用，並且出現圖式化的現象。清代中期新文物圖像上也有些新的變化出現，其中一個現象是對文物台座描繪上的重視，這也反映著當時人對文物陳列上台座的講究。另外，中國新文物圖像結合西洋畫法，開始出現擬真的文物陳列圖像。根據文獻記載可知清朝宮廷製作虛擬陳列架圖畫，開始裝飾在宮廷內部使用。此類結合西洋畫法的擬真陳列圖像，不僅在清朝宮廷內製作，傳世的在十八世紀傳入歐洲的中國壁紙等例子，反映著當時在民間也繪製相關圖像的事實。朝鮮後期盛行的冊架圖顯示出跟中國新文物圖像的關聯性。根據文獻記載，冊架圖是朝鮮王室宮廷內開始製作，而且當時的宮廷畫員金弘道擅於此道。雖然目前沒有傳世金弘道的冊架圖，但是金弘道在若干作品中文物圖式與冊架圖的相似性，不僅佐證了金弘道畫冊架圖的文獻記載，而且也反映傳世冊架圖的文物圖像在冊架圖成立的早期，就已有描繪中國文物圖像的圖式被畫家採用的事實。而且，金弘道繪畫作品上的中國文物圖像，與同時期清代流行的文物圖像有其相似性。另外，金弘道曾參與朝鮮王室建立龍珠寺的佛畫製作。龍珠寺佛畫中明暗法之使用為其較為突顯的特徵，其明暗法的技法上與清朝中期輸入到歐洲與日本的中國版畫顯示出有關聯性。同時18世紀後期朝鮮王室宮廷畫員繪畫中的明暗法與冊架圖也顯示出有關聯性。由此，關於冊架圖的西洋畫法可能的來源，推敲可能與中國民間的繪畫有關係。冊架圖物品的呈現方式上也可以看到固定模式，例如，觚甚少單獨被描繪，而通常與特定物件搭配在一起，包括珊瑚、孔雀羽毛等。這現象顯示不僅僅是單一物件的抄本成為描繪的參考，物件的搭配組合也成為圖像的一部分，而且其模式有格套可循。冊架圖文物描繪與圖像的格套化，顯示冊架圖上的文物是依循圖式繪製。雖然冊架圖的出現與中國文物收藏知識的傳播有關，但是為了視覺化呈現中國文物圖像，畫家依據的應該是圖像知識。另外，冊架圖是朝鮮後期繪畫中大幅採用西洋畫法的例子，冊架圖利用西洋透視法、明暗法及錯視畫法，營造出一個逼真的虛擬陳列架。在冊架圖上西洋畫法的導入與利用上，我們可以看到朝鮮畫家依照繪畫形式、建築空間等當地條件調整在地化的例子。冊架圖的流行可以說是兩種因素起了作用，其一、朝鮮後期社會內中國文物的收藏風氣，其二、透過燕行人與物的頻繁交流，增加了朝鮮人對中國文物直接或間接認識的機會。不僅如此，朝鮮人到北京天主堂等地方直接目睹西洋繪畫，甚至買回西洋畫欣賞，在這樣的體驗與認識之下，朝鮮後期冊架圖大幅流行。事實上中國新文物圖像不只影響了冊架圖，當時朝鮮的瓷器、建築等其他門類的藝術上，也可以看到類似冊架圖的圖像流行。也因如此，中國新文物圖像到了朝鮮成立一個新的繪畫門類冊架圖，冊架圖的流行又在朝鮮社會中，帶動相關圖像的流通與流行。冊架圖的出現，是跟透過燕行進行頻繁人與物的交流有關係。但是本研究中冊架圖的個案，讓我們看到在朝鮮後期中國與韓國的文化交流，已經不是只有考慮中韓交流單一層面的事情，這也關係到中國與西方其他國家之間的文化交流。中國與韓國的文化交流而產生的繪畫冊架圖，雖然其繪畫技法與形式受到西方的影響；但是，本研究中顯示的冊架圖與清朝當時傳入歐洲與日本的繪畫具有相似性，這意味著受到西洋繪畫風格影響的中國清朝繪畫，再往外傳影響歐洲、日本以及韓國當地文化的事實。

關鍵字

文物；收藏；博古；朝鮮藝術；冊架圖；西洋畫法；東西交流

並列摘要

China has a long history of collecting culture. The appearance of cultural artifacts and images related to cultural relic collections has also affected the development of Chinese art history. In the late Ming Dynasty, the contingent of cultural relic collectors continued to expand, and antique relics were mainly for family furnishings, showing that the owner's liberal elegance and antiquarianism became fashionable. The images of cultural relics had new changes during the Ming and Qing Dynasties. People's interest in the use, display and decoration of cultural relics began to be reflected in the subject matter of painting, and related visual images also began to appear popular. The images related to the display and utilization of cultural relics began to appear in prints mainly during the Wanli period in the Ming Dynasty, and gradually became popular on porcelain as decorative ornaments. For example, we can see that the new cultural relic images are not only widely adopted, but also appear to be schematic from the example of shipwreck out of water porcelain Wan-Jiao No. 1 which is believed came from early Qing Dynasty Kangxi period. There were also some new changes in the new images of cultural relics in mid-Qing Dynasty. One of the phenomena was the emphasis on depicting the cultural relics pedestal, which also reflected the people's attention to the cultural relics display at the time. In addition, the combination of new Chinese cultural relics images and Western painting techniques began to appear as realistic images of cultural relics. According to the literature, it can be seen that the Qing court produced virtual display shelves and began to decorate and use them inside the palace. Such realistic images combined with Western painting techniques were not only produced in the Qing court, but also passed on to Chinese wallpaper appeared in Europe in the 18th century, which reflects the fact that relevant images were also drawn in the Chinese folk art at its time. The Chaekgado that were popular in the late Joseon Dynasty shown a correlation with the new images of Chinese cultural relics. According to the record of literature, the Chaekgado was produced in the royal court of the Joseon Dynasty. And the court painter Kim, Hong-do was good at it. Although there is no Chaekgado picture of Kim, Hong-do handed down at present, the similarity of the Chinese object schema and Chaekgado drawings of Kim, Hong-do in several works not only corroborates the documentary records of the Chaekgado picture of Kim, Hong-do, but also reflects the images of cultural relics in the Chaekgado picture handed down. In the early days of the establishment of the Chaekgado picture, the image had already been adopted by the painter in the style of depicting images of Chinese cultural relics. Moreover, the images of Chinese cultural relics in Kim, Hong-do's paintings are similar to the images of cultural relics popular in the Qing Dynasty at the same time. In addition, Kim, Hong-do was involved in the production of Buddhist paintings of Yong-Ju Buddhist Temple established by the royal family of Joseon. The use of the Chiaroscuro in the Buddist paintings of the Yong-Ju Temple is a more prominent feature. The Chiaroscuro is related to the Chinese prints imported into Europe and Japan in the mid-Qing Dynasty. At the same time, the Chiaroscuro in the paintings of the royal Joseon in the late 18th century also showed a correlation with the Chaekgado. As a result, the possible sources of Western painting techniques for the Chaekgado drawings may be related to Chinese folk art painting. A pattern can also be found in the way of presentation for objects from the Chaekgado. For example, Gu are rarely depicted individually, but are usually paired with specific objects, including coral and peacock feathers. This phenomenon shows that not only the transcript of a single object becomes a reference for the depiction, but also the combination of objects becomes a part of the image, and it has a pattern to follow. It is obvious that the depiction of the cultural relics in the Chaekgado and the format of the image shows that the cultural relics on the Chaekgado are drawn according to the pattern. Although the appearance of the Chaekgado is related to the spread of Chinese cultural relics collection knowledge, in order to visualize the images of Chinese cultural relics, the artist should be based on the image knowledge. In addition, the Chaekgado is an example of how the Western painting techniques were used in the late Joseon Dynasty paintings. The Chaekgado use the Western Perspective method, the Chiaroscuro and the Trompe-l'oeil painting method to create a realistic virtual display shelf. In the introduction and usage of Western painting techniques on the Chaekgado, we can see examples of Joseon royal painters adjusting how they localize according to local conditions such as the form of painting and architectural space. We can say the Chaekgado gets popular due to two factors. First, the hype of collecting Chinese cultural relics in the late Joseon society. Second, the frequent cultural exchanges through dispatch envoy to Beijing, Joseon people have increased opportunities to know Chinese cultural relics directly or indirectly. Moreover, people from Joseon Dynasty directly see Western paintings from Catholic Church in Beijing and other places with their own eyes, and even enjoy Western paintings they bought from the journey. Under such experience and understanding, the Chaekgado became very popular in the late Joseon society. In fact, the images of Chinese new cultural relics not only affected the Chaekgado. At that time, Joseon Dynasty's porcelain, architecture and other arts can also see images similar to the Chaekgado. The new image of Chinese cultural relics imported to the Joseon society became a new painting genre. The popularity of the Chaekgado in Joseon society has driven the circulation and popularity of related image patterns. The appearance of the Chaekgado is related to the frequent exchange of people and objects through the dispatch envoy to Beijing. However, in this research we can see the cultural exchange between China and the late Joseon Dynasty are not only a matter of exchange between them, but also related to the cultural exchange between China and other Western countries. Although its painting techniques were influenced by the West, the Chaekgado painting was created by the cultural exchange between China and Joseon Dynasty shown in this research is similar to the painting introduced to Europe and Japan at the time of the Qing Dynasty. Which means that the Qing Dynasty paintings were influenced by the West then spread and influenced the local culture of European, Japanese and Joseon Korea.