图像的迁移与嬗变:再论《西岳降灵图》

The Transition and Transformation of an Image:Revisiting Western Mountain God Descending from Heaven

故宫博物院藏传李公麟《西岳降灵图》被沈从文等学者认为是宋代临摹的唐人画稿。通过研究画史对《西岳降灵图》诸版本的记载并着重解读故宫本《西岳降灵图》的一些细节与特征,笔者试图重建题跋中记录的原作构图,并对原作与现存版本间的差异进行分析,从而揭示摹写与媒介转换对于图像的影响。此外,借助史料中对《西岳降灵图》及其作者、收藏者和临摹者的记载,笔者在文章后半部分提出对《西岳降灵图》原作以及宋代摹本的作者身份的猜想。

Collected in the Palace Museum,the painting Western Mountain God Descending from Heaven attributed to Li Gonglin has been considered as a Song copy of a Tang painting sketch by Shen Congwen and some other scholars.By consulting the historical accounts about multiple versions of this painting and examining the critical details and features of the Palace Museum version,the author attempts to reconstruct the composition of the original painting,then analyzes the differences between the original painting and the Palace Museum version.In doing so,the paper reveals how cross-media duplication transformed the appearance of an image.On the basis of the art historical documents on the painter,collectors,and copiers of Western Mountain God Descending from Heaven,the author proposes a speculation about the identity of the painters of the original painting and the Song copy in the second half of the paper.