传杨邦基《聘金图》的创作背景和辱宋寓意

'A Diplomatic Mission to the Jin'(Pin Jin Tu) Attributed to Yang Bangji:Its Creation and Political Purport

美国大都会博物馆所藏《聘金图》卷无标题及画家款识,虽然学界一般认为是描绘宋金交聘的历史政治画,但作者和画意并无定论。本文根据画中山水风格和人物服饰、宋金交聘礼仪和使节往返路线,以及当时社会政治环境,论证此画可能为仕金汉人杨邦基(约1110-1181)为金主海陵王(1149-1161年在位)所创作,时间为1150年代晚期。其创作目的是借南宋国使在金境备受轻慢的现象写宋廷之不堪,默许海陵统一中国的野心和女真政权在中国历史上的正统性。该画在以宣扬国威、中兴为主旨的历史政治画传统中地位独特。

This article is a comprehensive study on a painting in the Metropolitan Museum collection that bears no title,date,or painter's signature.Although its subject matter is generally agreed to be a Song delegation's journey to the Jin court,its authorship and purport remain unclear.A close examination of the Song-Jin diplomatic procedures and contemporary sociopolitical practices not only places the painting's execution date in the late 1150s,but also reveals the humiliation of the Song envoy embedded in the central scene.The painting's style and geographic references point to Yang Bangji(ca.1110-1181),a Jin official-artist,as the painter,while historical circumstances and biographical information suggest the Jin emperor Hailing(r.1149-1161),whom Yang served in the 1150s,to be the intended recipient.By manipulating figural representation and highlighting the narrative through contrasting pictorial styles,the painter insinuates the disgrace of the Chinese regime by foregrounding the slight that the Song envoy suffered in Jin territory.The unworthiness of Gaozong's court helps justify Hailing's ambition to unify China and strength the Jurchen claim on dynastic legitimacy.This painting therefore occupies a unique place in the tradition of Chinese political art that normally celebrates dynastic revival and national prestige.