重建时空逻辑:《步辇图》祖本、胞本递藏考

Reconstructing the Chronological and Geographical Logic of The Imperial Sedan Chair:A Study of the Original Artwork and Its Subsequent Copies

历代画史著述与北京故宫博物院本《步辇图》画卷上题跋、钤印中包含的递藏信息,在时间和空间方面存在诸多抵牾之处。对以上两种不同类型的史料进行详细考辨和综合分析可以发现,宋元之间《步辇图》可能至少存在《画史》本、故宫本和《宣和画谱》本三个不同版本。其中《画史》本为祖本,先后藏于北宋王若钦家、吕夷简家、赵仲爰家,南宋绍兴内府、赵与懃家。故宫本为胞本,临摹活动的组织者可能是王诜。《宣和画谱》本临摹时间与故宫本相同或稍后,临摹者可能是宣和内府画工。

This study examines the discrepancies time and space-related informations found in the inscriptions and seals on the scroll The Imperial Sedan Chair,now preserved at the Palace Museum,as well as in various writings about the history of the painting itself.After detailed and comprehensive analyses of these two different types of historical records,this article suggests that during the Song and Yuan dynasties,there may have existed at least three different versions of the The Imperial Sedan Chair,namely one mentioned in the History of Painting,a second one included in the Xuanhe Painting Manual,and a third one preserved in the collection of the Palace Museum.Among these,the one mentioned in the History of Painting is the original scroll,which was successively included in the collections of the families of Wang Ruoqin,LüYijian,Zhao Zhong’ai of the Northern Song dynasty,and the family of Zhao Yuqin in the treasury of the imperial palace at Shaoxing,under the Southern Song dynasty.The version stored in the Palace Museum is a twin copy,ordered by Wang Xi.The copy included in the Xuanhe Painting Manual comes very close to that of the Palace Museum,and the copyist may have been a painter employed by the Xuanhe imperial storehouse.