樊圻、吴宏合作《寇湄像》讨论——以像主形象在清代之形塑为中心

The Portrait of Kou Mei Jointly by Fan Qi and Wu Hong and The Legend of Her Image in the Qing Period

该文透过分析清初金陵画家樊圻和吴宏合作于1651年的《寇湄像》,考察小像的风格、流传和文化意义。画家以白描手法展示了寇湄"美人迟暮"的意象,与明遗民余怀的题赞以及钱谦益之赠诗相应和,为后世之解读定下了基调。此外,画像的十四首题咏及其流传展示了清人多元的诠释视角,远非"遗民"单一概念所能涵盖。从小像之相对私密化传阅走向《秦淮八艳图咏》出版之大众化传播,其人物形象早已不囿于图像的局限,并被赋予生动丰富的传奇色彩。

The thesis focuses on the portrait of Kou Mei(Kòu Méi Xiàng in Chinese pinyin) jointly created by Artists Fan Qi and Wu Hong of Jinling City of the early Qing dynasty in 1651 in the aspects of style, circulation and culture. The combination of the image of Kou Mei purely line-drawn in Chinese traditional ink and brush style as a lady in her old age with the Ming adherents Yu Huai's eulogies and Qian Qianyi's poems in the painting sets the basic tone for interpretation of future generations. Honestly, the fourteen poems and inscriptions express the Qing people's appreciation of the work from multiple perspectives beyond the only concept of ‘adherents'. From the small-sized image passing around secretly to the issued album of Eight Beauties of The Qinhuai River(Qín Huái Bā Yàn Tú Yǒng in Chinese pinyin) popular among the public, Kou Mei has become a legend in people's mind more than the image itself.