明代仇英《漢宮春曉》研究

Abstract

仇英（約1498-1552）《漢宮春曉》全卷顯露精緻縝密的繪畫風格，一般公認是仇英的仕女畫代表作品。此畫主要描繪內容為宮女群於宮殿背景之中從事各式各樣的活動，其中備受矚目的畫面特色為畫中許多人物組合繼承了唐宋仕女畫的造型，而多數研究便是由《漢宮春曉》中所使用的古畫仕女圖式談起。不過，我們仍然好奇，仇英雖然大量使用傳統仕女圖式，但此畫與唐宋古畫的著重點卻有著明顯的不同。這當中最大的差異為仇英積極營造《漢宮春曉》的背景空間，賦予畫中女子活動的整體情境。本文由此背景空間的畫面特色出發，首先分析仇英如何運用界畫技巧繪出《漢宮春曉》特殊空間表現。接著回溯仇英與項元汴的贊助關係，嘗試提出《漢宮春曉》創稿的可能過程。最後，通過仇英在《漢宮春曉》表現之仕女題材內容與背景空間的特色，探討仇英如何在仕女畫傳統之上，創造仕女畫新的描繪焦點，並就此脈絡給予《漢宮春曉》的時代意義與其在畫史上的定位。透過《漢宮春曉》的個案研究，可發現仇英如此積極掌握宮女活動內容與空間情境的結合，實與明中葉以降江南地區發展出的女性文化頗有關聯。

Spring Dawn in the Han Palace painted by Qiu Ying (approximately 1498-1552) was known as the exquisite and meticulous style. It was generally accepted to be the representative work of Qiu Ying’s female painting. This painting mainly depicted the women engage in a variety of activities in the court. The noticeable feature of the painting which attracted much scholarly attention was that the portrayal of some palace women were copied from ancient artworks. However, the focus of Spring Dawn in the Han Palace was obviously different from that of ancient paintings in Tang and Song period. The most significant change in the painting was that Qiu Ying created the palace background and gave a living environment for these court ladies. This study started from the feature of the background in Spring Dawn in the Han Palace. To begin with, this study explored how Qiu Ying used the Ruled-line painting techniques to show the special space in Spring Dawn in the Han Palace. Then, the second part of this thesis traced back the sponsorship relationship between Qiu Ying and Xiang Yuan Bian, and attempted to reconstruct a possible process for the draft of the painting. Finally, this study discussed how Qiu Ying created a new focal point of the painting on the tradition of female painting. In this context, it gave the era significance of Spring Dawn in the Han Palace and its position in the history of painting. Through the case discussion of Qiu Ying's Spring Dawn in the Han Palace, it could be found that the combination of the palace women's activities and the spatial background in the painting was related to the female culture developed in the mid-Ming period in the Jiangnan area.