致仕还乡:明仇英《归汾图》研究

Returning to Hometown after Retirement:Study of Qiu Ying’s Returning to the River Fen

故宫博物院藏《归汾图》卷系明仇英为唐颐在苏州府任期将满意欲致仕归故乡太原而作,该图有仇英署款,拖尾有陈九德等四人跋。此外,故宫博物院另藏有明邓韨款《归汾图》卷,其后黄书《河汾清隐对》亦明确提及系为唐颐结束苏州府任期即将归乡而作,该卷图式与仇英图相似。《归汾图》卷于1956年收购至故宫博物院,一向被认为是仇英的真迹,曾在故宫博物院“石渠宝笈展”展出,目前学界尚无对该图的深入研究。本文系对仇英《归汾图》卷的个案研究,拟探讨该图的创作年代、图像形式等,并将该图置于其创作的功能、情境中,分析该图及仇英其他作品所体现的“致仕还乡”之画意。

The painting Returning to River Fen collected by the Palace Museum was created by Qiu Ying(ca.1505-1552)in the Ming dynasty(1368-1644)for Tang Yi,who expressed the intention to return to his hometown Taiyuan after his term in Suzhou.The painting bears the artist’s signature and postscripts inscribed by four scholars including Chen Jiude.In addition,a hand-scroll of the same title signed by the Ming artist Deng Fu(1473-1561)is also in the Palace Museum collection,on which the postscript by Huang Hui explicitly mentions that it was created for Tang Yi’s retirement from officialdom.The scheme of the painting is similar to that of Qiu Ying.Qiu’s Returning to the River Fen was acquired and handed over to the Palace Museum in 1956.It has always been regarded as an authentic piece by Qiu’s hand.It was displayed in the Museum’s“The Precious Collection of the Stone Moat”exhibition.At present,there is no in-depth study on this painting in academic circles.This article is its case study,with the intention of discussing the date of its creation,the image scheme.By putting the work within the context and purpose of its creation,the article also analyzes the idea of“returning to hometown after retirement”as expressed in this and other works by the artist.