文化廳本《酒飯論繪巻》寺院稚兒及授乳圖像研究

Abstract

現存於日本及世界上約30多件《酒飯論繪巻》作品，目前被大致分為狩野派系與傳土佐光元派系兩個系統。狩野派系《酒飯論繪巻》的原本推定應由狩野元信（1476/77-1559）製作。文化廳本《酒飯論繪巻》是狩野派系紙本著色繪巻中的最古本，甚至有研究推論也許就是狩野元信繪製的原本，年代大概離1520年代不遠。繪巻詞書描述三位主人公某日聚在一起辯論酒與飯誰優誰劣，有二人為各自喜愛的酒或飯發表意見擁護，而以第三人主張酒與飯皆喜愛，凡事適中為結。三位主人公都在詞書中明確表示自己的佛教宗派信仰，但繪巻中的寺院稚兒及巻末授乳圖像似乎涉及佛教的破戒議題。

本文旨在以比較藝術學、圖像學、文獻閱讀等方式探討文化廳本《酒飯論繪巻》寺院稚兒及授乳圖像的表現，其究竟給當時的觀者什麼樣的印象，並透露出什麼樣的信息，從而試著與繪師狩野元信的生平連結。其成果推測繪師應偏向以正面意義描寫這兩個圖像，並且很可能反而有緩解破戒爭議的功用。

There are more than 30 copies of the Shuhanron emaki（酒飯論絵巻the illustrated scroll of the wine and rice debate） in the world, which are now roughly divided into two lineages—the Kano(狩野) and the Tosa(土佐) schools. The original of the Kano school version is currently attributed to Kano Motonobu（狩野元信1476/77–1559）. One copy owned by Bunkacho（文化庁the Agency for Cultural Affairs） is thought to be the oldest one of the Kano school’s colored Shuhanron scrolls, probably created not far from the 1520s; it is even thought as perhaps the original painted by Motonobu. The content of the scroll’s text is about three man gathered together one day having a debate over wine and rice. Each of two men defended their own preferred diet, and the text ends with the third man, who likes both wine and rice, eulogizing over partaking of them in moderation. They all mentioned their Buddhist sects in the text, but the images of monastery’s chigo（稚児） and nursing woman in this scroll seem to have something concerned with the violation of Buddhist precepts.

This article aims to use comparative images analysis, iconology as well as literature review to observe what kind of impression those images might leave upon the viewers, what kinds of messages they might reveal at that time, and then tries to discuss with the career of Kano Motonobu. The study result assumes that the artist might represent monastery’s chigo and nursing woman in a positive way, and it is probably by doing so abated rather than strengthened the precepts-violating controversy.