《全宋詞》床屏意象的形制與紋飾

Abstract

宋代床屏意象的形制，主要可分為落地床榻屏風、枕頭前的小枕屏、多曲式摺疊屏、多扇床榻圍屏等四類。藉床屏本身屬性所凸顯的阻隔性與封閉性，可構築靜密的屏內世界，滿足人們對領域性、私密性的要求，甚至超越作為室內家具的意義而賦以動人的傷春怨別等情感負載。其裝飾圖紋則可點綴色彩、營造室內氣氛，加強並賦予空間意涵，傳遞再現與隱喻的審美特徵，令一般的日常的生活細節成就獨特的文學意境，共同指向詞境的內向性和自我封閉的遠隔心態。由於現存宋代繪畫、宋代出土文物少見室內空間陳設，關於床屏意象的文獻資料唯有從兩宋詩詞文中尋找，其中以宋詞保存尤多，故本文以《全宋詞》等典籍為核心文本，探討宋代床屏意象的形制與紋飾。

There are four different forms about the bed screen images in Song dynasty‘s (960-1279) traditional architectures.1) The standing bed screen was usually installed in the back area of hall near the wall and became the visual center, or used for quiet works such as reading or resting in the study room; sometimes installed in the main entrance of living room and used for hiding the interior-view or blocking the wind. 2) The small bed screen near the pillow was often put in the position of head, which obstructed the wind and sunshine from outside. 3) The folding screen was composed by six or twelve pieces of items, which were made of paper or silk damask and was popular in Tang and Song dynasty. 4) The folding screen with boards around the bed had been large development in Song dynasty. It could form a quiet and private world where people could lean against it as if they were just awaking or sleepless. All of these could not only provide the needs of personal territoriality and privacy and then symbolize different feelings, the paper or silk damask with landscape painting, flower and bird patterns on the bed screen images but also could have helped to thaw the atmosphere of calm and gorgeous.