入明使節的肖像：妙智院藏《策彥周良像》之研究

Abstract

本論文是以京都妙智院所藏策彥周良的兩張肖像為主題，這兩張肖像是像主策彥周良第一次入明期間向中國畫師訂製的作品。策彥周良是妙智院的三世塔主，曾兩度奉山口大名大內義隆之請入明朝貢，第一次是1538到1541年，第二次是1547年到1550，先後擔任副使和正使之職。這兩張肖像畫的圖像表現，以及題贊者、題贊時間和贊文內容，乃至於畫幅尺寸、人像比例盡皆不同。由此看來，身為訂製者的策彥周良，對此二像應有不同的用途規劃。本論文之目的即在了解策彥周良藉由此二像所傳達的自我形象，以及這樣的形象與策彥入明出使的經歷之間的關聯。另外，本論文也意圖透過策彥周良這兩張肖像畫，進一步了解在日明朝貢貿易體制之下，日本人到中國訂製肖像的動機和考量，以及當時寧波在中國畫史上的特殊地位。

This study focuses on the two portraits of Sakugen Shuryo which are owned by Myochi-In Temple, but currently are preserved in Kyoto National Museum. The portraits were drawn in 1538 by a Nignbo painter, while Sakugen Shuryo was staying in China for a diplomatic mission. Sakugen Shuryo was the third abbot of Myochi-In Temple, and went to China twice in 1538 and 1547, respectively. He was a vice ambassador in the first trip, and became a head ambassador in the second trip. The two portraits of Sakugen Shuryo are different not only in the figure and inscription, but also in the size of the canvas and the proportion of the figure. This study illustrates how Sakugen Shuryo utilized his portraits to form his image as a Japanese ambassador in China. Another research objective of this study is to understand the situation about the tributary trade between China and Japan in the Ming dynasty, especially the painting activities concerned with the order from the Japanese clients.