文伯仁《金陵十八景圖冊》研究：南京意象之形塑

Abstract

本研究關注到蘇州畫家赴外地發展的研究面向，嘗試藉由文伯仁（1502-1575）繪於隆慶壬申年（1572）的《金陵十八景圖冊》之探討，釐清其製作脈絡和明代當時南京風氣之可能關聯性。相較於大量以南京景點為吟詠對象的詩文創作，和南京景點相關的圖像繪製，似乎發展得較為緩慢，直至十六世紀中期以後，方有蘇州畫家文伯仁以金陵勝景為描繪主題的勝景圖冊( famous sites album)問世，至於南京當地畫家，遲至十七世紀以後才較為關注此類圖像之創作，故南京此類圖像創作之肇始，實為蘇州畫家，而非南京畫家。

根據本研究之考察，乃認為《金陵十八景圖冊》的生成脈絡，實和明代南京地方意識的興起、南京對自身地景的關注，以及南京文壇的發展有所連繫，並且從此套未明確指出受畫對象的畫家自題和圖像內容等線索審視之，《金陵十八景圖冊》極有可能是出於文伯仁自身寓居南京的生活經歷，以及對於明代中晚期競爭激烈的書畫市場的敏銳觀察，進而繪製的作品，而非純粹受旅遊風氣影響之下的產物。有鑑於此，本研究自《金陵十八景圖冊》作品本身出發，探討畫家文伯仁如何運用自蘇州習得的繪畫傳統，並以其畫筆詮釋和塑造南京之形象。The present study examines the activities of Suzhou artists whose careers developed in areas away from Suzhou, focusing in particular on the Eighteen Scenes of Jinling that were painted by Wen Boren (1502- 1575) in 1572, during the reign of the Longqing era of the Ming Dynasty; the study seeks to clarify the background to the creation of the painting, as well as their possible relationship to the cultural atmosphere in Nanjing during the Ming Dynasty. While large numbers of poems and essays praising the beautiful scenery of Nanjing had been written since ancient times, paintings depicting Nanjing’s sights seem to have been a relatively late development, with the first significant works being the Eighteen Scenes of Jinling, an album of paintings of famous sights created by the Suzhou-born artist Wen Boren in the late 16th century. Nanjing-born artists themselves seem not to have taken an interest in depicting the sights of their home city until the 17th century. There is thus a rather unusual situation in that the first important paintings of Nanjing were painted by an artist from Suzhou, not an artist from Nanjing.

The research results obtained in the present study show that the background to the creation of the Eighteen Scenes of Jinling is in fact closely linked to the rise of local consciousness, growing awareness of the city’s scenic sights, and the development of the local cultural scene. The inscription by the artist included in the Eighteen Scenes of Jinling do not explicitly stated the sponsors and the content of the works provide clues which suggest that the works may well have been based on Wen Boren’s own direct experience of living in Nanjing over an extended period, as well as on Wen’s keen observation of market trends in the fiercely competitive late-Ming art market, rather than being products of the fashion for Ming artists to create paintings of places they had visited briefly on their travels. The study therefore takes the Eighteen Scenes of Jinling as a starting point for exploring the way in which Wen Boren utilized the Suzhou painting tradition to which he had been exposed to interpret and create an image of Nanjing.