馬軾、李在、夏芷合繪《歸去來辭圖卷》研究

Abstract

遼寧省博物館藏《歸去來圖》因卷中九幅分別署有馬軾（約1405-1464）、李在（約1370年代-1447以後）、夏芷（約1407左右-1449之後）的款印，而一直被認為是明初宮廷繪畫的代表作品之一。不過其中的九幅繪畫各自之間卻有著十分顯著的風格差異，並且這些風格差異實際也無法與各幅上的馬軾、李在、夏芷的款屬所分別對應。20世紀晚期便也有學者注意到此一情況，並推測認為其中第一幅與第八幅很可能為清代金廷標（？-1767）或其他宮廷畫家所補繪。研究發現，《歸去來圖》整卷繪畫中最有可能的真跡，即為李在的第九幅，其不僅與李在的傳世畫跡⾵格⼀致，也符合宣德畫院的⼈物畫⾵格類型。畫卷的第四幅、第五幅、第七幅經過比較，也相當可能分別出⾃李在與夏芷的⼿筆。⽽⾺軾款印的五幅中，第⼆幅、三幅雖無法全然確定為⾺軾的真跡，但亦與宣德宮廷的⼈物畫⾵格相近，很可能也繪製於相近的時期。不過⾺軾款的第⼀幅、第六幅、第⼋幅則因在繪畫⾵格上與晚明更為接近，製作時間或許已經晚⾄明末清初。本⽂重新梳理了遼博本《歸去來圖》存在的種種問題，並嘗試對各幅的真偽及創作年代進行了深入推論。同時，經由重新考察⾺軾、李在、夏芷的⽣平與繪畫⾵格，釐清了三⼈的⽣卒時間、活動地域、交友群體、作品⾵格等以往學界尚有爭議的問題，評析明代畫史對三人的不實訊息，進而還原三⼈較為真實的歷史⾯貌。

The handscroll Tao Yuanming's Home Again collected in the Liaoning Provincial Museum has long been considered one of the masterpieces of early Ming court paintings due to the fact that the nine paintings in the scroll were respectively marked with the marks of Ma Shi (ca.1405-1464), Li Zai (ca.1370-1447), and Xia Zhi (ca.1407-1449). However, there are significant stylistic differences between each of the nine paintings, and these stylistic differences do not effectively match the marks of Ma Shi, Li Zai, or Xia Zhi on each painting. This was noted by some scholars in the late twentieth century, and they suggested that the first and eighth paintings were probably painted by Jin Tingbiao (?-1767) or other court painters of the Qing dynasty. But is this really the case?The most likely authentic painting in the entire scroll is the ninth painting by Li Zai, which is not only consistent with Li's style of other remaining works, but also in keeping with the style of the figure painting of the Xuande Academy. By comparison, the study suggests that the fourth, fifth and seventh paintings in the scroll are also likely to be painted by Li Zai and Xia Zhi respectively.While among the five paintings with Ma Shi's marks, although the second and third paintings cannot be attributed to Ma Shi for certain, they are also similar in style to the figure painting of the Xuande court, and were probably painted in a similar period. Nevertheless, the first, sixth, and eighth paintings are closer in style to the late Ming period, and they may have been made as late as the late Ming or early Qing dynasties.This paper explores re-examines the various problems with the The handscroll Tao Yuanming's Home Again collected in the Liaoning Provincial Museum , and tries to draw further inferences about the authenticity and date of each painting. By re-examining the painting styles of Ma Shi, Li Zai, and Xia Zhi, this paper also clarifies some of the previously controversial issues concerning the dates of their births and deaths, the locations where they were active at, their friendship circles, and the styles of their works, hence, analyzing the misrepresentations of the three artists in Mingdynasty painting history and restoring a more authentic historical perspective of the three artists.