〈大理國梵像卷〉之帝王肖像研究

Abstract

現藏於故宮博物院的〈大理國梵像卷〉為大理國目前唯一傳世的畫卷，根據卷後的題跋，此卷完成的時間約落在1172-1175年間，張勝溫則為主要的作者。全卷繪製精工，描繪的人物、題材亦豐富，是研究南詔、大理國歷史、宗教及藝術的重要畫卷。〈大理國梵像卷〉中的宗教相關內容，一直以來都是學者們研究的重點。有別於過去多專注於其宗教圖像的研究，本論文將著重於過去學者較為忽略，畫卷中的帝王圖像為討論對象。〈大理國梵像卷〉中繪及帝王圖像的段落主要集中於首段利貞皇帝、末段十六大國王以及中段的南詔歷代帝后圖。論文首先討論〈大理國梵像卷〉三個主要帝王圖像所運用的圖示傳統，並藉由其他的文獻、圖像，解讀卷中所繼承自唐、宋的繪畫傳統。並透過三個繪有帝王圖像的段落與傳統圖繪的連結，包括帝后禮佛圖、歷代帝王圖、王會圖。解讀當中繼承自過往繪畫傳統以及屬於傳統中創新的表現。提供對於同時代的帝后圖像可能的想像，同時，豐富對唐宋時期間帝后圖像的原有認知。

前人學者的研究多著重於〈大理國梵像卷〉與宗教的關係，然而檢視〈大理國梵像卷〉中的帝王圖像，則可發現其中除了宗教元素外，亦帶有著其他的政治訊息。藉由分析卷中帝王圖像的特殊意涵，以及日後〈大理國梵像卷〉進入乾隆宮廷，乾隆命其畫師對於重繪畫卷進行的改動，認為〈大理國梵像卷〉中的帝王圖像並非僅作為宗教形式的供養人，而是透過多樣帝后圖像的繪畫傳統，不時穿插於畫卷中各式與南詔帝王相關傳說故事的內容，以及他國王者前來會面、朝覲的行伍，一再地顯現南詔、大理國的皇權與多樣宗教的密切關係。同時也為〈大理國梵像卷〉的製作脈絡及緣由，提供一種新的研究觀點。

“Chang Sheng-wen’s Long Roll of Buddhist Images”, which now being a collection in National Palace Museum, is the only scroll painting being handed down from Dali. According to its postscript, the scroll was painted between 1172-1175, by or under the direction of a master with the Chinese name Chang Sheng-wen. The scroll is an important artwork for historical, religious and artistic research of Nan Chao and Dali, for its delicate painting skill, and also its abundant characters and themes. Religious contents in “Chang Sheng-wen’s Long Roll of Buddhist Images” has always been the focal point of academic research, when differ from the usual approaches, this paper will be focusing on the emperor portraits as discussion. “Chang Sheng-wen’s Long Roll of Buddhist Images” concluded imperial portraits mainly on its first part- “The Emperor Li-Chen”, middle part- “Emperors of Nan Chao”, and the last part- “the Kings of sixteen great realm”.This paper will first be discussing three traditional usage of symbols derived from emperor images, and, along with the support from other documents and images, the interpretation of painting traditions the scroll acquired from Tang and Song Dynasty. Moreover, this paper also provides interpretation of the inheritance and innovation from the painting traditions through the connection between traditional paintings and three paintings that contains emperor portraits, which included “Emperor worshipping the Buddha”, “Emperors of all dynasties” and “Regal Assembly”. Providing possibilities of emperors and queens portraits of the same era when, at the same time, enrich the original knowledge on imperial portraits from Tang and Song Dynasty.Former scholars often focused on the relation between “Chang Sheng-wen’s Long Roll of Buddhist Images” and religion. However, when viewing the emperor portraits in the scroll, there are other political messages embedded besides the religious elements. Through analyzing the particular meanings in these imperial portraits, with the retouching on the repainted scroll that Qian-Long emperor made the painters do after the scroll entered the emperor’s palace; this paper considers the scroll, “ChangSheng-wen’s Long Roll of Buddhist Images” , is not the provider of a certain religious content, but rather through evidence in various painting traditions of imperial portraits, along with the myths of Nan-Chao emperors interweaved in the scroll, and queues of other emperors that came to meet and pilgrimage,the scroll is a provider of the close relation among nobles of Nan-Chao, Dali and the diversity of religion; at the same time, suggesting a new research perspective for the reason and context of creative process.