勺園與米萬鍾文化形象的形塑：《勺園圖》相關研究

Shaping the Culture Images of Shao Garden and Mi Wanzhong: A Study of the Paintings of Shao Garden

王鈴雅(Ling-ya Wang)

指導教授 ： 石守謙

國立臺灣大學/文學院/藝術史研究所/碩士(2011年)

https://doi.org/10.6342/NTU.2011.01391

摘要

本論文以描繪米萬鍾（1554後-1631）在北京勺園舉行修褉活動的三幅畫作為研究對象，企圖透過重建勺園的空間設計與勺園圖的製作、使用脈絡，勾勒出園主米萬鍾一步步形塑勺園空間文化和個人文化形象的過程。本論文首先說明勺園與米萬鍾的特殊關係，並從圖繪顯示出勺園與修褉活動的密切關係，指出米萬鍾因應舉行修褉的空間需求，透過曲水景觀將勺園打造成「北地蘭亭」，以此追慕王羲之蘭亭修褉的風流情懷。接著，本文討論米萬鍾聘請同為佛教居士的好友吳彬繪製的《勺園祓褉圖》。此作再現園內特殊的曲水景觀，並將米萬鍾喜好與想望，一一投射在勺園圖所再現的空間象限中。而米萬鍾利用吳彬之作進行修改，繪製成《勺園修褉圖》，將園景與個人形象進行更緊密的結合。最後，米萬鍾再將「勺園圖」轉換成複製生產的「米家燈」，從此可推測出（傳）米萬鍾《勺園紀圖》出現的契機。「米家燈」的製作改變了原先吳、米創作勺園圖的使用脈絡，不僅促成「米家四奇」──園、燈、石、童的建立，使勺園則是唯一一座集結「米家四奇」的園林，更讓勺園和勺園圖的名聲不限於米萬鍾的文人交遊圈，在一般大眾間也擁有高知名度。從吳彬到米萬鍾繪製的勺園圖，再從「勺園圖」到「米家燈」的製作，勺園圖不單是再現園林實景，更彙整米萬鍾各種文化形象，使勺園與米萬鍾個人形象緊密相連，成為強化他身為晚明奇士的重要載體，同時是我們認識米萬鍾的重要樞紐。本論文冀能透過勺園的個案研究，對明代北京的城市園林有更深入的了解，並提供一個可能的途徑，思索晚明園林文化在北方與江南城市文化中，分別產生的作用與互動關係。

關鍵字

米萬鍾 ； 吳彬 ； 勺園 ； 園林畫 ； 蘭亭 ； 修褉 ； 北京

並列摘要

This thesis focuses on the three paintings which represent xiu-xi activities held by Mi Wanzhong (after 1554 -1631) at Shao Garden in Beijing. The aim of this study is to outline the process of how Mi Wanzhong shapes the space culture of Shao Garden and his culture images by reconstructing the garden design and the context of paintings. First, the close relationship between Shao Garden and xiu-xi activities illustrates how Mi Wanzhong designs Shao Garden as Northern Orchid Pavilion and pursues the romantic (feng-liu) mood of xiu-xi activities at Orchid Pavilion held by Wang Xi-zhi. After finishing designing Shao Garden, Mi Wanzhong invited Wu Bin who is his intimate friend in Buddism belief to draw the first painting called “Fu-xi at the Shao Garden.” This painting emphasizes the unique Qu-shui landscape and projects Mi Wanzhong’s preferences and personal images into spatial quadrant of the garden scenery. At next step, Mi Wanzhong modified Wu Bin’s painting and drew a new one, “Xiu-xi at the Shao Garden.” Mi Wanzhong combines his images and the garden landscape more tightly than Wu Bin. Finally, Mi Wanzhong applied the copies of paintings to make the lanterns of Mi Family. It can be inferred why another painting attributed to Mi Wanzhong appears. Moreover, the production of “The Lanterns of Mi Family” not only alters the original use context of painting, but also stimulates the establishment of “Four Wonders of the Mi Family” ─ ─ Gardens, Lanterns, Rocks, Actors. Shao Garden becomes the only garden including “Four Wonders of the Mi Family.” Furthermore, “The Lanterns of Mi Family” lead to the high reputation of Shao Garden and paintings from the circle of literary spread to the public. As a result, the paintings of Shao Garden are not only the representations of the garden, but also the carrier of Mi Wanzhong’s culture images. He strengthens his idol as a unique figure in late Ming by paintings. His intentions let those paintings become the best way to understand Mi Wanzhong. This case study will help to know an outlook of gardens in Beijing City in Ming Dynasty and will offer a feasible approach to compare the agent and interaction of garden culture in the cities of both the North and the South area in late Ming.

並列關鍵字

Mi Wanzhong ； Wu Bin ； Shao Garden ； Garden Paintings ； Orchid Pavilion ； Xiu xi ； Beijing

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