文徵明《仿趙伯驌後赤壁賦圖卷》研究

On Wen Zhengming "After Zhao Bosu's Latter Ode to the Red Cliff"

謝宛諭(Wan-yu Hsieh)

指導教授 ： 石守謙

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.2012.02420

摘要

本論文以文徵明《仿趙伯驌後赤壁賦圖卷》為中心，由圖像敘事的角度切入，討論此卷作品在中國《赤壁圖》傳統中的重要性與特殊歷史地位。
中國繪畫中的《赤壁圖》傳統創立於北宋末年，其內容主要表現蘇軾〈前、後赤壁賦〉、〈念奴嬌〉（赤壁懷古）等文學題材。雖然歷代《赤壁圖》的主題皆與蘇軾赤壁文學有關，但是由於各《赤壁圖》的製作脈絡不盡相同，因此實際上它們所表現的意涵與代表的意義也就不能一概而論。以《仿趙伯驌後赤壁賦圖卷》為例，此卷創作於明代中期的作品雖然畫名中有一個「仿趙伯驌」，而構圖乍看之下也與北宋喬仲常《後赤壁賦圖卷》相似，但是經過仔細檢視與分析，我們知道它不論是在敘事結構或表現主旨上，都與前代《赤壁圖》有很大的差異。《仿趙伯驌後赤壁賦圖卷》具備元代以降圖像敘事長卷的特質，它以三段式的段落結構敘述一個「忽起遊興—復遊赤壁—歸來夢鶴」，有事件發生、有情節演變的完整故事。而在利用圖像說故事的同時，文徵明也以「遊」作為詮釋〈後赤壁賦〉的核心，一方面說明了文徵明個人對於〈後赤壁賦〉的詮釋，一方面也反映了明代中期蘇州地區開始興盛的旅遊文化，並影響後代《赤壁圖》的風格與表現主題。

關鍵字

文徵明 ； 趙伯驌 ； 赤壁圖 ； 遊

並列摘要

This thesis analyses Wen Zhengming’s “After Zhao Bosu’s Latter Old to the Red Cliff”. Besides style analysis, it also discusses the importance of the masterpiece and its role in the tradition of Red Cliff paintings in China.

In Chinese painting history, the tradition of the Red Cliff theme was founded at the end of the Northern-Song dynasty. The theme illustrates Su Shi’s literature masterpieces Former and Latter Ode to the Red Cliff and Lyrics to Remembering Your Charm (Remembrance of the Tale of the Crimson Cliff. Although the Red Cliff paintings indicate Su Shi’s literature in almost all generations, due to different production contexts, each art piece actually contains different meaning and has its own significance. Take “After Zhao Bosu’s Latter Ode to the Red Cliff” for example. Although its composition reminds us of Ciao Zhongchang’s “Latter Old to the Red Cliff” at the end of the Northern-Song dynasty, and the name “Zhao Bosu” even suggests the style of the Southern-Song painter Zhao Bosu, however, this artwork’s own features actually make it stand out from former Red Cliff paintings. First of all, “After Zhao Bosu” presents a very different narrative structure from former ones. This narrative structure presents the plot of the Latter Ode story, which is about initiation—revisiting Red Cliff—return with a strange dream. Besides the narrative structure, “After Zhao Bosu” also conveys a very different message from the former Red Cliff paintings. While 12th century Red Cliff paintings focused on illustrating seclusion or nostalgia, Wen Zhengming let “journey” be the core interpretation of Su Shi’s Latter Ode to the Red Cliff. This interpretation not only reflects the booming travel culture in the 16th century Suzhou, it also influences the subject and style of other ensuing Red Cliff paintings.

並列關鍵字

Wen Zhengming ； Zhao Bosu ； Red Cliff paintings ； Jounery

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