唐壁后摹:《西岳降灵图》重考

A Reconsideration of Hunting Tour of God Xiyue at Huashan Mountain after Tang Frescoes

故宫博物院藏传李公麟《西岳降灵图》卷,虽被认为并非李氏原作,但却保留了大量的唐代图像元素。本文通过图像分析,尤其是与敦煌第156号窟《张议潮及宋氏夫人出行图》的对比,认为该作脱胎自一幅唐代壁画。此外,本文亦对"西岳降灵"主题的形成,以及图像后世流传等问题略作考证。

The Hunting Tour of God Xiyue at Huashan Mountain in hand scroll,called Xīyuè Xiánglíng Tú in Chinese pinyin,collected in The Palace Museum,vividly shows the ceremonial parade where God Xiyue(Xi means west,Yue means mountain literally,therefore Xiyue refers to Huashan Mountain,one of Daoism’s five holy mountains of China) was on the way to hunting with escorts and attendants in front and behind.The painting is attributed to Li Gonglin(1049-1106) with many features of the Tang art.The iconographic analysis between the procession scenes depicted in Hunting Tour of God Xiyue at Huashan Mountain(Xīyuè Xiánglíng Tú) and Zhang Yichao Heading His Troops for Battle(Zhāng Yìcháo Chū Xíng Tú) and Zhang Yichao’s Wife Mrs.Song’s Outing Accompanied by Attendants(Zhāng Yìcháo Fūren Sòngshì Chū Xíng Tú) of Mogao Cave 156 suggests that the Hunting Tour of God Xiyue at Huashan Mountain(Xīyuè Xiánglíng Tú) be sourced from a Tang mural.By the way,this thesis also touches on the formation and popularity of the motif of ‘God Xiyue’s Hunting’ and the circulation of the image in the ages that came later.