一扇在手:南宋宫廷与临安市场之间的自由画家

Freelance Painters Who Worked for the Southern Song Court(1127-1279)and Linan Marke

本文以“自由画家”(freelance painter)一词,指涉长久以来一向被学界忽视的南宋临安民间画家。此类民间画家到处接活,以临时性、一次性的契约模式服务于宫廷,然而后世文献却常将之笼统归类为“宫廷画师”。通过分析陈清波、李东、赵彦、徐确等民间自由画家的谋生模式,辄可归结,南宋临安除去“御前画师”“非御前画师”两大类型的宫廷画师外,存在着第三种与宫廷之间具有松散联系的民间自由画家。这是一批混杂性阶级(hybrid class),平日于都城街道开扇铺(fan shops)营生,偶尔才以“和雇”或“和买”等形式,将扇画(fan paintings)销售至宫廷。南宋帝王在收购此批宫外人作品的同时,如何允许牙人(brokers)、行会(guilds)等市场经纪人,保护画家自身的权益?自由画家如何增加利润,将销售对象从平民百姓拓展到宫廷贵胄?画铺与画铺之间又如何相互较劲,在竞争激烈的市场中求生存?借由区分宫外与宫廷画师谋生模式之不同,本文破除南宋院体风格的迷思,并将艺术与劳工放入宏观的南宋官僚机构的大历史脉络中考察。

This article makes visible the complex social position of a previously overlooked class of Southern Song artists:freelance painters,who worked for the imperial court on a temporary,as-needed basis,but who have been mischaracterized as permanent,oficial"court painters"by post-Song historiographers.Through an analysis of the careers of freelance painters such as Chen Qingbo,Li Dong,Zhao Yan and Xu Que,I posit a hybrid class of adjunct-artists,who made their livings by operating fan shops in the capital's streets but at times also contracted with the court.How did the emperor exploit contingent artists while simultaneously allowing market agents(guilds and brokers)to protect their benefits?How did the freelance painters increase their profits by developing entrepreneurial relations with the court and by competing with other freelancers in a fierce market?By exploring how the Southern Song court mobilized non-court painters through consensual contracts,this article differentiates freelancers from court painters,thereby dismantling long-held myths about the Southern Song painting academy.