王希孟《千里江山图》卷再探——兼及宋徽宗的艺术帝国

Sequel to the Exploration of A Panorama of Rivers and Mountains by Wang Ximeng:with Discussions of the Artistic Empire of Emperor Huizong of the Song Dynasty

本文立足于一系列重要的直接证据和间接证据,以北宋"格物致知"的观念推定和修订《千里江山图》卷中的地域性细节,如长江下游的碳酸盐岩的地貌特性,以及庐山的地标性景观汉阳峰、四叠瀑、白鹤观、石钟山等。根据笔迹、内容和装裱以及伤况等,指出画中藏印"缉熙殿宝"系《石渠宝笈·初编》误判,应该是南宋高宗吴皇后的藏印"康寿殿宝",确定溥光跋文系真迹无疑,修正并大致画出该图的递藏路线。进一步确定王希孟在"禁中文书库"的经历,特别是北宋开封丰富的社会生活和文学艺术的长篇化、诗意化等风尚以及微画技艺等,是该图深厚的人文背景和前人的艺术铺垫,画中的用色手法影响了大青绿山水画的发展,是徽宗建立皇家绘画审美观的色彩基础。

On the basis of a series of important and indirect evidence,this article presumes and revises geographic details in the handscroll A Panorama of Rivers and Mountains(Qianli Jiangshan tu)in accordance with the Northern Song(960-1127)teaching of“the investigation of things and extension of knowledge”(gewu zhizhi).Such details include the carbonate rock terrain in the lower reaches of the Yangtze River,the Hanyang Peak,Sidie Cascade,Monastery of the White Crane(Baihe guan),and the Stone Bells Mountain,all landmarks of the Mount Lu.Based on the brushwork,content,mounting,and damages,the author points out that the collector’s seal on the painting±“Seal of the Jixi Hall”(Jixi dian bao)±was misidentified in the Precious Collection of the Stone Moat(Shiqu baoji chubian).It should be the“Seal of the Hall of Health and Longevity”(Kangshou dian bao)which belonged to Empress Wu of the Southern Song(1127-1279)Emperor Gaozong(r.1127-1162).The authenticity of Monk Puguang’s colophon on the scroll is confirmed,thus the provenance of the painting is revised and pieced together.Wang Ximeng’s experiences as part of the“Palace Document Storehouse”(jinzhong wenshu ku)is further established,together with the zeitgeist of full-length,poetic representation of the diverse social life,literature,and art in the Northern Song capital Kaifeng,and the adoption of miniature painting skills,shed lights on the solid literary background and rich artistic legacies that led to the creation of this painting.This painting’s color palette influenced the development of the greater blue and green landscape paintings,laying the color aesthetic foundation for court paintings in the reign of Emperor Huizong(1101-1125).