傳米友仁與司馬槐《詩意圖》卷（英文）

The Poetic Ideas Scroll Attributed to Mi Youren and Sima Huai

自從晚明的學者與鑑藏家們的青睞以來,傳米友仁與司馬槐《詩意圖》卷,一直被視爲宋代文人畫的重要代表作。卷上的兩件畫作題材,分别取自杜甫的五言詩句。其構成與組合,爲我們提供了窺探宋代文人士大夫們在融合文字與圖像的創造力上的一個珍貴窗口。然而,此詩畫卷也同時充滿著種種的困惑與疑點。首先是司馬槐的作者身份的辨識,然後是两件無款畫作各自作者的確認問題。本文藉著詩意歷史學的回顧,相關文獻證據的檢索,以及個人研究的新論點,試圖解析關涉此畫卷的種種問題。特别著力於辨認一位自號“端叔”的關鍵人物,因爲他關繫著最初杜甫詩句的擇選與命題;然後論證“端叔”的最可能人選應該是以文學著稱的蘇軾門生李之儀。最後,重定此卷的創作時間應當是在北宋末,而非前人所指稱的南宋初;同時也闡釋所特别擷取的那些杜甫詩句的種種寓涵。

From the time it came to the attention of scholars and connoisseurs in the late Ming dynasty,the Poetic Ideas scroll attributed to Mi Youren(1074-1151)and Sima Huai(fl.twelfth century)has long been considered an important example of Song dynasty literati painting.The scroll's two paintings,each of which is preceded by single poetic lines by Du Fu,offer a rare window into the inventive manner in which Song scholar-official painters combined texts with images.The scroll has also been noted for the many puzzles it presents,beginning with the identity of Sima Huai and the authorship of the two paintings,neither of which is signed.The essay reviews the historiography of Poetic Ideas,examines all documentary evidence,and offers new research in an effort to solve some of the many previously unresolved questions.Particular emphasis is put on the identity of the person who chose the Du Fu lines,known only by his style name,Duanshu.Arguing that the most likely candidate for Duanshu is Li Zhiyi(1048-1118 or later),a celebrated literary figure and disciple of Su Shi,the author proposes a date for the making of the scroll during the late Northern Song,as opposed to the early Southern Song,and a context for understanding why these particular Du Fu lines were chosen for illustration.