「西園雅集」文獻與圖像的形塑 —兼論馬遠《西園雅集圖》研究

A Study of Shaping the Text and Images of “ Elegant Gathering in the Western Garden ” and Ma Yuan’s “ Elegant Gathering in the Western Garden ”

林亭宇(Ting-yu Lin)

指導教授 ： 陳葆真

國立臺灣大學/文學院/藝術史研究所/碩士(2012年)

https://doi.org/10.6342/NTU.2012.01224

摘要

本文希望跳脫以往學者所關心「真實雅集？」、「大師作品？」的問題，而根據相關文獻和圖像，配合當時的文化現象去梳理出其中的發展，希望從「西園雅集」歷史形象的形塑，去探討具有「李公麟《西園雅集圖》和傳米芾〈《西園雅集圖》記〉」的文化形象是如何被建立的。
本文分兩大部份，第一部分是探討「西園雅集」文化形象是如何被建立。首先，在南宋時流傳了許多描繪蘇軾等人的圖像，其中《述古圖》即為明清流傳描繪五項活動的「西園雅集圖」圖式來源，而明清〈《西園雅集圖》記〉的最初文本，則是源於南宋初年人士在崇蘇的氛圍下作〈《述古圖》記〉。本部分即在處理在南宋到明代之間，「西園雅集」文獻與圖像的形成和演變：從南宋「圖」與「圖記」的形成，後於元末文人雅集盛行的氣氛下，《述古圖》名稱轉而為《西園雅集圖》；到了明代楊士奇的作用，使得眾人開始將〈《述古圖》記〉作為對照《西園雅集圖》的文本；之後又因董其昌提倡傳米芾〈《西園雅集圖》記〉，造成由《西園雅集圖》與〈《西園雅集圖》記〉所形成的「西園雅集」形象，廣為人知。
本文第二部份，針對最重要的南宋馬遠《西園雅集圖》作討論。此幅的圖式與明清描繪五項活動的「西園雅集圖」相當不同，也是目前傳世最早描繪蘇軾「西園雅集」的圖像，可顯見其重要性。在此部分，分別探討馬遠《西園雅集圖》畫題、表現特色與斷代問題。由各項分析，可以得知此幅作品內容是描繪具有蘇門文士聚會的「西園雅集」，表現特色上可見馬遠繼承唐代、北宋以來各家的技法傳統，風格上則是與馬遠初期作品相近，因此本幅可視為馬遠在十二世紀末，風格尚未純熟時，利用學習各家技法和自身對「西園雅集」認識所作的佳品。

關鍵字

西園雅集 ； 西園雅集圖 ； 李公麟 ； 米芾 ； 馬遠 ； 楊士奇 ； 董其昌

並列摘要

In the subjects of the text and paintings of “Elegant Gathering in the Western Garden,” this article wants to jump out of the questions of “Is it the true Elegant Gathering?” or “Is it the work of the master? ”concerned by other scholars. Instead, we sort out the development in accordance with the text and the paintings as well as the cultural phenomena of that time. We want to explore how did the cultural image of “The Painting of‘Elegant Gathering in the Western Garden’ by Li Gong-lin and Mi Fu’s ‘The Record’ of Elegant Gathering in the Western Garden” form from the shape of the history image.
This article divides in two parts. The first part discuss how did the cultural image of “Elegant Gathering in the Western Garden” form. First of all, many of the portraits of Su Shi et al were popular in South Song. Among all, “The Painting Transmitting Antiquity” was the source of “Elegant Gathering in the Western Garden” which depicting the five activities spreading in Ming and Qing Dynasties. The initial copy of “The Record” in Ming and Qing could be traced back to “The Record of the Painting Transmitting Antiquity” under the atmosphere of admiring Su Shi in the beginning of South Song. The name of the painting “Transmitting Antiquity” was then changed to “Elegant Gathering in the Western Garden” in Yuan Dynasty. Affected by Yang Shi-chi in Ming Dynasty, people started to contract “The Record” with paintings; afterwards, as Dong Chi-chang promoted “The Record” by Mi Fu, The “Elegant Gathering in the Western Garden” phenomena formed by “The Painting and The Record” was widely known.
The second part discusses “The Painting of Elegant Gathering in the Western Garden” by Ma Yuan of South Song. The style of this painting was quite different with the paintings describing five activities in Ming and Qing Dynasties, which was the painting that depicting “Elegant Gathering in the Western Garden” of Su Shi. Its importance stands out. In this section, we discuss the questions of the theme, features, and discontinued dynasty. Analyzed from every aspect, we can see that Ma Yuan held on with the traditional techniques of every school from Tang and North Song. The style was close to the initial works of Ma Yuan; therefore, this painting can be seen as the excellent work by Ma Yuan in the end of 12th century when the style was immature that he learned from the technique of every masters and his understanding toward “Elegant Gathering in the Western Garden.”

並列關鍵字

Elegant Gathering in the Western Garden ； The paintings of “Elegant Gathering in the Western Garden ； Li Gong-lin ； Mi Fu ； Ma Yuan ； Yang Shi-chi ； Dong Chi-chang

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