王世貞的導覽計畫：《紀行圖》研究

Abstract

明代興起的旅行風氣以及隨之產生與地景相關的圖像，是這段時期重要的發展之一，但體例新穎的《紀行圖》之研究直到近年才逐漸受到重視。《紀行圖》又稱《水程圖》，是王世貞(1526-1590)委託錢穀(1508-1572)、張復(1546-1631)繪製而成，主題為紀錄王世貞從太倉至北京的旅程。這套作品現分成三冊，此外，還包含上冊的另一個版本，以上四冊為本文主要討論的對象。過去對《紀行圖》的研究觸及形式來源以及製作目的；然而，對於其導覽功能以及風格的討論，至今尚未有充分說明。本文從兩個角度切入：首先，這套作品的功能不只是紀念個人旅行經驗，也是未來旅行者的導覽材料。圖中加入輿圖傳統的風格，包括較高的視點以及地標旁的榜題等，意在傳遞地方資訊，而非再現地景。其次，畫家刻意簡化的筆墨表現是這套作品最重要的特徵之一，過去並不受到重視。本文將從「出版動機」來理解其筆墨意義，討論出版與旅遊文化間相輔相成的關係。從這角度來看，王世貞在山水版畫製作的嘗試階段可能扮演著重要的角色。

During the Ming period, the flourish of “jiyou tu” (tourism paintings), with travel trend, has been considered one of the most significant developments in the time. However, a series of painting, Jixing tu (pictorial travel journey), in an innovative format, has only begun to be explored in these years. Jixing tu, also called Shuicheng tu (journey by water), commissioned by Wang Shizhen (1526-1590) and were done by Qian Gu (1508-1572) and Zhang Fu (1546-ca. 1631), recording Wang‘s journey from Taicang to Beijing. This thesis mainly focuses on this series of painting which is divided into a three-album set and another version of the first album. In the past, some scholars have discussed the visual materials adapted by Jixing tu and Wang's purpose, but the function and style of the painting have never been fully explained. This thesis gives two perspective to the subject. First, the function of these paintings is not only to commemorate one's experience but to provide tour materials for future travelers. In general, rather than determining the representation of the scenery, painters added a style of traditional maps to the albums, such as the application of high point of view and the script next to landmarks, to illuminate the tour information about each site. Secondly, painters obviously made a conscious effort to simplify the brush, yet the effort has received scant attention, leaving its feature underappreciated. This thesis suspects that Wang was trying to publish these paintings. This interpretation would be helpful to understand the brush style, furthermore, explains the relationship between the print culture and tourism. Given the possibility, it is suggested that Wang Shizhen plays a crucial role at the experimental stage of woodblock-printed of landscapes.