图像考据与明清待漏图——从朱邦《王宫图》轴说起

Research of Image and the Ming and Qing Paintings about Levee: Zhu Bang’s The Royal Palace

本文以图像考据的方式分析研究了明清11件立于宫殿之前的肖像画与待漏图的关系,由"待漏"产生的"待漏文学"是认知待漏图的关键之一,肯定了朱万章、黄小峰等先生的探索成果。文章提出了判定作品的创作者有无宫廷背景的基本方法是分析画中的建筑是否符合宫廷规制,图下的长条底图决定了此类肖像画的主要功用。笔者认为明代朱邦《王宫图》轴的像主为蒯祥,但并非严格意义的待漏图;进一步确信《北京宫城图》轴为待漏题材,系明代早中期的民间工匠之作;南博本为明代宫廷画家之笔。对其他相近本子如藏于台北待漏图的作者和像主的身份、画作类型等进行考据,力求探讨此类图像的创作动机与目的等。此类图像在明清之际具有规律性的发展与演变过程,特别是朝代更迭和宫廷政治对这类肖像画的影响,起到相当重要的作用。

On the basis of Zhu Wanzhang and Huang Xiaofeng’s research, the author makes a study on the relationship between eleven portraits in the Ming and Qing dynasties with the figure standing before the palace and the paintings about levee. It’s believed that the "levee literature" originated from "levee" is one of the keys to the cognition of paintings about levee. The author puts forward that whether the buildings in the painting conform to the court regulations is the basic method to judge whether the painter has a position in the court. The long underlying drawing at the bottom of the painting determines the main functions of this kind of portraits. The figure in Zhu Bang’s The Royal Palace is Kuai Xiang, but the painting is not a levee painting in the strict sense. Furthermore, the theme of Beijing Imperial Palace is the levee, created by some folk craftsman in the early-mid Ming dynasty, while the Nanjing Museum edition was created by some Ming court painter. The author also makes a research on the painter, the figure’s identity and the painting type of some other similar editions such as the painting collected in Taipei to explore the creation motive and purpose of such kind of paintings. During the Ming and Qing dynasties, such images had shown certain regularity in their evolution. Especially, the changes of the emperors and the court politics have an important influence on such portraits directly.