從《道統十三贊》到《靜聽松風》政治宣傳：南宋理宗的以畫傳意

Abstract

宋理宗趙昀在位長達四十年（西元1224-1164 ) ，是南宋在位最久的皇帝，對於南宋的政治留下了巨大的影響。在宋理宗的時代他留下了多幅以其面容繪製而成的繪畫作品，這些作品中都帶著背後政治的隱喻與宣傳。宋理宗透過詩文題字、定名於馬麟的繪畫上，將其政治宣傳表達於《道統十三贊〉、《靜聽松風〉等作品之中。透過考證分析作品，從歷史脈絡與政治發展瞭解《道統十三贊》、《靜聽松風〉製作的原因與背後政治的暗喻，宋理宗可能藉由繪畫作品去傳達其想法與暗喻。馬麟繪製的《道統十三贊》可能為宋理宗繼位合法性不足下的另一種宣傳品外，更可能是給予太學生們的一份贈禮，目的在安撫太學生對於理宗用人與國策改變的不滿輿論，相似地當《靜聽松風》製作完成後，繪畫作品似乎不只有表達宋理宗追求自然與隱逸的概念，而藏在畫名之下的政治隱喻，也必須從文本與歷史與觀看者、展示空間四個條件下，找出宋理宗再次透過繪畫傳達心聲給觀看的大臣們。

Li-tsung, reigning for forty years (AD 1224-1164), was the longest reigning Emperor ofNorthem Sung dynasty. He left a huge political impact. During his reign, he left many pieces of paintings drawn from his face. And there are always metaphors to politics and political propagandas behind those paintings. Li-tsung delievered his political propagandas through poetry inscriptions and his signature on Ma Lin's paintings, such as "The Thirteen Sages and Rulers of the Orthodox Lineage "and" Quietly Listening to Soughing Pines" After researching and analysing art works, we comprehend the motive why the paintings were completed and the political metaphors behind "The Thirteen Sages and Rulers of the Orthodox Lineage "and" Quietly Listening to Soughing Pines" by studying the historical tread and the political development on the court. Emperor Li-tsung might express his will and some politicals metaphors through paintings. "The Thirteen Sages and Rulers of the Orthodox Lineage "by Ma lin might not only be the propaganda pleading against the emperor's insufficient legitimacy but a gift to please scholars. The reason of presenting this gift was to appease scholars' discontents with the emperor's personnel management and national policies. Similarly, when the painting" Quietly Listening to Soughing Pines" were finished, the painting likely expressed more than the emperor's enthusiasm toward nature and idyllic life.And the political metaphors hidden behind the paintings could only be discoveredand interprieted as what the emperor's messaages to his ministers under four conditions, the texts, the history, the viewer, and the exhibition space.