政治的合法性:龙美术馆藏宋《瑞应图》研究

Political Legitimacy:Study on Rui Ying Tu of Song Dynasty Collected in Long Museum

历史上的《瑞应图》有多种版本流传,上海龙美术馆藏《瑞应图》是画面与题赞保存最完整的一版,故对于整个《瑞应图》的研究十分重要。文本在梳理作品赞文、题跋、印章、画面基本内容的基础上,着重从图像与历史的关系对《瑞应图》的第一场景"诞育金光"与第十二场景"脱袍见梦"进行详细解读。《瑞应图》显示了在南宋初期由高宗发起的具有一定创新性的"人物瑞应"的瑞应方式,这种方式直接将描绘的对象锁定为帝王与其他重要的皇族人员,巧妙地将部分真实的历史事件与后来被认为是上天昭示的虚拟场景融合在一起,具有视觉真实性与历史真实性,其瑞应的效果要强于徽宗朝依托于动物、植物、景物、天相的"物象瑞应"。因此,对于宋高宗这位需要确认政治合法性的帝王来说,运用"人物瑞应"来暗示自身天授神佑的合法帝位,可以达到曹勋在赞文序中提到的"皆骇心动目,感化人心,遂日靖四方,再造王室"的作用。

There are many versions of Rui Ying Tu in history. The one collected in Long Museum in Shanghai is one with the most complete images and inscriptions, so it is very significant for research. On the basis of the basic content of eulogy, inscription,seal, images, etc., the text makes detailed interpretation on the first scene 'Bear and Raise the One with Golden Light' and the twelfth scene 'Taking off the Robe to See a Dream' from the relationship between the image and the history. Rui Ying Tu shows the creative way of Ruiying innovated by the emperor Gaozong in the early Southern Song Dynasty. In this way, the depicted object were directly the emperors and other important Royal personnel,and it integrated some of the real historical events with the virtual scenes signed by the heaven in a crafty manner, which are of visual authenticity and historical authenticity, so its effect was better than Huizong's way of relying on 'image Ruiying' such as the images of animals, plants, landscapes, and astronomical phenomena. Therefore, for Gaozong of Song who needed to confirm his political legitimacy to be an emperor, he made use of'human Ruiying' to suggest his own legitimate throne be given by the God, and it could function what Cao Xun mentioned in his eulogy that 'to make people shocked and moved, so as to keep the empire in peace, and the royal family reestablished'.