节愍太子墓《升仙太子图》考——兼论薛稷画鹤的时代背景

Research on Shengxian Taizi Tu in Jiemin Taizi Tomb

一直以传说形式流传于中原的王子晋故事,经过武则天时期的刻意经营,成为活生生的政治存在。模仿王子晋控鹤升仙在张易之兄弟为中心的政治群体中蔚然成风,也成为这个群体撰文、作画的题材。节愍太子李重俊的身世和政治命运与王子晋有着相似之处,联系其身世与改葬时的社会政治环境、特别是睿宗的作为,其墓中的仙人御鹤图像可定名为《太子升仙图》。睿宗将它安排在节愍太子的墓中蕴涵着现实的政治、宗教意义。以画鹤知名的薛稷,跟武周、及睿宗朝的政治权力中心都有着密切的关系。出于画家天生的敏感,对政治氛围有清楚理解的他,凭借突出的画技,选择与当下政治有密切关系的仙鹤题材。这不仅是当下政治氛围之必需,也是他延续个人政治生命的需要。

There is a mural in tomb of the Jiemin Taizi （prince）, Li Chongjun 李重俊, which describes an immortal who looks nice, riding on a came with something in hand. Basing on reviewing the political career of Jiemin Taizi（prince）, the politic and society during Wu Zetian 武则天, Emperor Tang Zhongzong 唐中宗 and Tang Ruizong 唐睿宗 era, this article discovers this painting implies realistic meaning of politic and religion. Furthermore, this mural has close relation with the legend of Wang Zijin 王子晋 and Tai Zi Shenxian Bei 太子升仙碑 built by Wu Zetian. Therefore, the author calls this mural Taizi Shenxiantu 太子升仙图. It was Tang Ruizong who ordered to draw the painting. In the light of that, this article anatomizes why Xue Ji 薛稷 chose the came as his theme on the basic of discussing further the politic atmosphere in this period and the social relation with others of Xue Ji.