“左挹浮丘袖,右拍洪崖肩”—洪崖仙图考

Wandering with Those Immortals Fuqiu and Hongya:An Iconological Research on the Images of Hongya

郭璞《游仙诗》中提到"左挹浮丘袖,右拍洪崖肩",其中"拍洪崖肩"的典故曾被文人频繁引用,而洪崖是谁,一直未有固定的答案。画史中尚有不少关于洪崖仙图的记载,但一直未见其真实画貌,美国大都会博物馆藏沈振麟的一幅人物画,很有可能便是失传已久的洪崖仙图,其画中洪崖及其五仆一驴的形象,与记载非常吻合。现今关于洪崖仙图的研究不多,尚未引起学者的关注。而画史记载的若干洪崖仙图中,钱选本最知名,摹本也较多。结合辽墓曾出土的装饰有洪崖图像的扁壶,可以发现洪崖仙图作为固定的绘画程式早已广泛流传。文章运用图像学的研究方法,结合文献分析洪崖仙图的图像意义和图像程式,并梳理画史中的洪崖仙图。

Guo Pu(276-324)had mentioned in his poem of mystical excursion that in the imaginary wonderland:the sleeve of Fuqiu could be held with the left hand and Hongya’s shoulder could be pated with the right hand.Literati had frequently borrowed the allusion"patting Hongya on his shoulder"in their works.However,who is Hongya?The answer to this question has never been unified and clarified.In the history of painting,there are also various records regarding the drawings of Hongya,but these drawings have not been found.Some scholars believe that the pictures depicting Hongya were lost.Nevertheless,a figure painting by Shen Zhenlin(active in the 19 th century)at the Metropolitan Museum could be the extant one,which represents Hongya,five attendants and a donkey.There is not much research on this painting,and it has not yet attracted scholars’attention.Among the several versions of painting Hongya recorded in the history,Qian Xuan(1235-1305)’s painting is the most popular version,but there are also many copies.The painting Hongya painted by Shen Zhenlin is not the same as Qian Xuan’s version,but it has the same image schema.Combined with the image of Hongya decorated on the unearthed pot from the Liao Tomb,it can be seen that the picture of Hongya as an image schema had been widely circulated.By applying the research method of iconology and literature analysis to analyze its image meaning and schema,this article is aimed at sorting out the versions of Hongya paintings in the history.