“真赏”的重构与纪念:文徵明《真赏斋图》的空间变化及功能转换

Reconstruction and Commemoration of “Zhenshang Study”: Spatial Changes and Functional Transformation in Wen Zhengming’s Paintings Zhenshang Study

文徵明为华夏作有两卷《真赏斋图》,它们在空间布局及内容上发生的种种变化,揭示了两卷图像的功能差异以及创作情境的改变。与“上博本”开放性的雅集空间相比,“国博本”拒绝了“他者”的进入,转向私密的封闭空间。与此同时,书斋内部的藏品变化也更准确地呈现了华夏的收藏趣味,且上溯至华氏的家学传承,使鉴古空间更具个性归属。结合两卷图像后《真赏斋铭》与《真赏斋赋》在内容及书写时间上透露的信息,本文进一步发现文徵明二度作图的原因或与华夏及其自身藏品的散佚有关。在此意义上,“国博本”便成为华夏的“图传”,同时也承载了文徵明对旧有真赏时光的感怀与纪念。

The changes in the spatial layout and content of the scrolls Zhenshang Study that Wen Zhengming painted for his friend Hua Xia reveal the functional differences between the two scrolls and the change in the context during their creation. The one stowed at the Shanghai Museum presents the study as an open space, but the other version stowed at the National Museum of China(NMC) turns into a private enclosed space. At the same time, the study’s interior in the later version more accurately presents the hobbies and preferences of Hua Xia through his collection, making the space more personalized to appreciate antiquities. With the information revealed by the two scrolls,the reason for Wen Zhengming’s secondary creation may be related to the dispersal of Hua Xia and his own collection. In this sense, the NMC version is a painting-biography of Hua Xia, which carries the remembrance of Wen Zhengming of the good old time of appreciating antiquities.