從〈洛神賦全圖〉看敘事畫傳統在宋代的融合與演進

Abstract

現藏於北京故宮博物院的佚名〈洛神賦全圖〉是一卷根據曹植〈洛神賦〉文本情節，以連環畫構圖逐一詮釋賦文的敘事畫長卷。對比其他〈洛神賦圖〉摹本，〈洛神賦全圖〉以其精巧的圖繪風格、新穎的視覺效果和獨特的敘事手法突出於眾摹本之間，是為宋代畫家的創新表現。本文將探討〈洛神賦全圖〉當中新的表現元素之可能來源，嘗試釐清中國敘事性繪畫到了宋代有甚麼特殊的發展，並試圖理解宋代畫家選擇了何種敘事方式重新詮釋〈洛神賦〉故事。論文首先就〈洛神賦全圖〉的圖文敘事部分作分析，解讀〈洛神賦全圖〉當中承繼自六朝類型〈洛神賦圖〉的構圖特色及情節敘事，同時挑揀出其中不屬於傳統的創新表現，包含榜題的運用、情節分景、山水布置，以及相對多元的時空表現，推測這些新元素有一部分是受到佛教敘事繪畫的影響。同時，〈洛神賦全圖〉的筆墨風格、圖像特色和裝飾母題則凸顯出與宋代宮廷繪畫、宮廷版畫的連結，加強了〈洛神賦全圖〉的當代性。

前人學者指出，中國繪畫受佛教敘事繪畫影響的時間差不多發生在六朝時期，然而在檢視〈洛神賦全圖〉的過程中，發現畫家運用榜題和異時同圖、異景同圖的作法鮮見於其他宋代敘事畫，卻與宋代寺觀壁畫上的佛教經變畫有所接近，促使本文回顧佛教敘事繪畫中對於異時同圖等時空表現手法的描寫。藉由敦煌壁畫各朝洞窟和宋代寺觀壁畫所遺存的圖繪資料，試圖梳理出佛教敘事手法的表現脈絡，並對比〈洛神賦全圖〉的表現手法，發掘出該卷畫家對於佛教繪畫敘事手法的引用及修正，為宋代敘事性繪畫的視覺敘事機制提供一種新的研究觀點。“Nymph of the Luo River” Handscroll (Lo-shen fu chyuan tu), collected by the Palace Museum in Beijing, is a long scroll of narrative paintings, one by one, explaining the text of Cao Zhi's “Nymph of the Luo River” with the composition of comic strips. Compared with other copies. “Nymph of the Luo River” Handscroll stands out among other copies with its exquisite drawing style, novel visual effects and unique narrative techniques, which is an innovative performance of the Song Dynasty painters. This paper will explore the possible sources of the new expressive elements in the “Nymph of the Luo River” Handscroll, and try to clarify the special development of Chinese narrative painting in the Song Dynasty, and try to understand the way that painter chose to reinterpret the story of the “Nymph of the Luo River”.The thesis starts with the “Nymph of the Luo River” Handscroll graphic narrative part of analysis, interpretation of the “Nymph of the Luo River” Handscroll from the six dynasties type “Nymph of the Luo River” Handscroll of the composition features and plots, narrative, and pick out which does not belong to the innovation of the traditional performance, contains a list of questions to use text captions, landscape layout, segmented plot, and relatively diverse performance of space and time, Itis speculated that some of these new elements are influenced by Buddhist narrative paintings. At the same time, the picture style, decorative imagehighlight the link with the court paintings and prints of the Song Dynasty, strengthening the contemporary nature of the “Nymph of the Luo River” Handscroll.Previous scholars pointed out that the Chinese painting influenced by Buddhism painting almost occurred in the six dynasties. However, in the process of examining “Nymph of the Luo River” Handscroll, it is found that the painter used the text captions and synoptic that some method rare from other narrative painting in Song Dynasty, but it is similar to the Buddhist narrative paintings on the murals on the temple of Song Dynasty. The paper reviews the method of narrative in Buddhist painting, especial what is synoptic presentations and conflated compositions. By Dunhuang murals caves and murals on the temple of Song Dynasty materials, I trying to tease out the performance of Buddhist narrative context, and compared the “Nymph of the Luo River” Handscroll technique of expression, excavated the volume painter for reference and correction of narrative, the Buddhist paintings in the narrative paintings of Song Dynasty visual narrative mechanism provides a new research view.