重析《文姬歸漢圖軸》的製作年代與畫意表現

本論文以《文姬歸漢圖軸》（國立故宮博物院藏）為研究對象，旨在釐清其製作年代，並將「形象」層次作為圖文關係的新角度以討論畫意，最後則據此探索此圖的創生脈絡。過去以陳居中（活躍於寧宗朝嘉泰年間，1201-1204）為《文姬歸漢圖軸》之畫家的說法並不可靠，但此軸製作年代仍然眾說紛紜。因此，本文擬由畫面空間與各母題中的結構概念，輔以畫中器用的考證，確認《文姬歸漢圖軸》繪於12世紀中後期的可能。除此之外，本文也重新考量《文姬歸漢圖軸》的製作地區與製作層級，推測此軸為南宋宮廷畫院的創制。而後，本論文的討論重心為人物形象的塑造與圖繪對形象之轉譯。由第三章開始，首先關注由南朝至南宋文姬故事的文本脈絡，歸納宋人對文姬形象的塑造。本文尤其留意北宋王安石對文姬形象的形塑，及南宋士人將文姬作為「節女」象徵之共性。除文本脈絡外，本文也要自《文姬歸漢圖軸》的畫面中，拆解圖中匯聚於文姬身上的三種身份：母親、妻子與節女。其中，又以歸返漢地的節女形象最為關鍵。漢族與外族的關係，確實為《文姬歸漢圖軸》的表現重心之一。此軸最為特殊的創制是在別離場景中加入漢朝官員，且畫面中的位置安排與人物互動模式，與乍看相似的《胡笳十八拍》圖繪有所不同，造成圖繪表現的新意。本論認為，透過文姬形象的改創與漢族、外族交聘場景的建構，使得《文姬歸漢圖軸》之畫意目標在於呈現宋、金交聘中的平等關係，甚至，可謂畫家試圖透過文姬「節女」形象的描繪，展示對漢（宋）的忠誠與認同。其製作時期更可能趨向宋爭取與金對等的孝宗朝（1162-189），此軸或為孝宗朝力圖恢復之時，衡量自身與外族之關係的圖繪作例。

關鍵字

文姬歸漢；胡笳十八拍；敘事圖繪；南宋宮廷；宋金關係

並列摘要

This dissertation centers on the scroll of Wen-chi’s Return to China (The Collection of National Palace Museum) and focuses on clarifying its date, discussing the expressive intension of the painting by using the “image” as a new perspective of the relationship between pictures and text and exploring the context of its production. It is unreliable to consider the painter of the scroll of Wen-chi’s Return to China is Chen Ju-Zhong (active in the reign of Emperor Ningzong during the Jiatai era, 1201-1204), however, there are still divergent opinions on the date of the scroll. Therefore, the dissertation intends to confirm the possibility of the work painted in the late 12th century, based on the concept of structure in the entire space and separate motifs, supplemented by the objects depicted in the painting. In addition, the dissertation also reconsidered the production area and production level of the scroll, presuming that it is a production of Southern Song court. Afterward, the dissertation will elucidate the creation of the image of characters and the translation of these images by painting. Starting from the third chapter, the dissertation first focuses on the context of the story of Wen-Chi from the Liu Song Dynasty (420-479) to the Southern Song Dynasty (1127-1279), inducing the images of Wen-Chi which shaped by Sung scholars. This dissertation especially focuses on the forming of the image of Wen-chi by Wang An-Shih (1021-1086) in the Northern Song Dynasty, and the commonality of the scholars in the Southern Song Dynasty who regard Wen-Chi as a symbol of “morality female”. In addition, this dissertation also analyzes the three identities converging on Wen-Chi in the scroll of Wen-chi’s Return to China, which is mother, wife, and “morality female”. Among them, the most significant image is the “morality female” who returned to Han. Indeed, the relationship between the Han people and the nomads is one of the highlights of the scroll of Wen-Chi’s Return to China. The most insightful depiction of this scroll is that the Han officials also participated on the parting scene and the position arrangement and characters interaction in the painting are different from The Eighteen Songs of A Nomad Flute which looks similar in the first glimpse, resulting in a new expression of the painting. This dissertation believes, through the shaping of the images of Wen-Chi and the construction of the engagement scenes of the Han and nomads, the expressive intension of the scroll of Wen-Chi’s Return to China present ing the equal relationship in the engagement of Song and Jin. Moreover, the painter tried to demonstrate the loyalty and recognition to Han (Song) through the depiction of the image of “morality female”. Therefore, the production date of this scroll is more likely in the Xiaozong reign (1162-189), in which Song strived for the equivalent to Jin or a painting work to evaluate the relationship between Southern Song and Jin Dynasty during Xiaozong reign try to recover the authority.