读万寿祺《野果山禽图轴》——兼论清初钱谦益朱彝尊于江浙之交游

Readings of Wan Shouqi's "Bird and Wild Berries":Reconstructing Friendship Networks in the Early Qing China

《中国古代书画图目》第四册《上海博物馆》卷所录水墨画《山鸟》实为苏州顾麟士过云楼旧藏,顾氏所撰《过云楼书画记·续记》中则题作《万年少野果山禽图轴》。图中画者虽未留一字一印,但有钱谦益(牧斋)及朱彝尊(竹垞)之手题,故知此画实出万寿祺(年少)之手无疑。余读此图,有感于陈寅恪古代社会"世情人事,如铁锁连环,密相衔接"之说,乃详考题字者与画之先后藏主间之关系,试图重构钱、朱二人于苏州、嘉兴两地之交游网络。简言之,牧斋部分,起崇祯末年讫康熙初元,相关人物有周葵、荃兄弟,钱曾,钱陆灿,徐波,木陈道忞,继起弘储,苍雪读彻,熊开元,冒襄,邓旭等;竹垞部分,则尽康熙一朝,所涉者有查慎行、嗣瑮兄弟,陆嘉淑,黃宗羲、宗炎兄弟,马思赞及妻查惜,杨雍建及子中讷,清廷重臣明珠及子揆敘等。余之考述钱、朱二人之交游,不复采用一般"直线式"之法,以其徒限于此与彼间之关系而已。余之目的,意在访寻古人交游网络踪迹之所在。世之专家学者,幸垂鉴焉。

Shortly before his death in 1652,the late Ming painter Wan Shouqi(1603-1652)left behind an unfinished work,which had no title,no signature,and even no seal.Five years later,when the work first surfaced in public eyes in Suzhou,the prominent poet-scholar Qian Qianyi gave it a thorough examination.Armed with prior knowledge of the artist’s lifetime works,Qian concluded that it indeed came from Wan’s hand.Qian then inscribed his finding on the painting.In 1700,Zhu Yizun saw the painting in Jiaxing,Zhejing,and he endorsed Qian’s conclusion.'Bird and Wild Berries,'ink on paper,measuring 74.5mm×41.8mm,features a lonely bird perching on a wild berry branch,gazing intently at a grasshopper beneath,while totally ignoring the berries nearby.The painting’s hidden meanings have attracted much scholarly attentions thus far.This essay,however,concentrates its attention entirely on the earlier viewers of the work.Utilizing biographical data of these viewers,it seeks to reconstruct two friendship networks in the early Qing.First,in Suzhou,surrounding Qian Qianyi,and the second,in Jiaxing,with Zhu Yizun as the central figure.In so doing,the essay hopes to illustrate the intricate relationships among the literati in the late Imperial China,relationships that were far more complicated than known heretofore.