《傳徽宗摹張萱搗練圖》的相關研究與「擣衣」圖像的起源和發展

Abstract

本文旨在深究「擣衣」圖像表現起源和重建其發展過程。研究首先調查歐美日學界關於中國藝術史中，二十世紀初期發現「擣衣」圖像的表現畫作——《傳徽宗摹張萱搗練圖》的闡述論點，從而了解二十世紀前半葉學界如何構思此主題發展與所表現特質。 接著，本文以1960至2008年新發現與「擣衣」主題相關之八件新作品為其礎，通過圖像研究與比較分析，嘗試重建「擣衣」主題發展過程，並討論其風俗性表現與文學畫之間關係。 此外，由於「擣衣」主題藉由中國唐詩流入日本嵯峨天皇（809－823年在位）時期的詩壇流傳跨越其母國文化，本文目的也在追究此跨文化現象在新文化範疇的發展脈絡，與歷代藝術所展現出「擣衣」圖像表現特質。本研究應用跨文化比較方法論述「擣衣」圖像模式，進一步理解同一個主題在兩個不同文化發揮其特質的過程。

The thesis delves into the origins of pictorial representation of the pounding cloth motif and reconstruction of its development process. First, the author provides an insight into the early stage of the research and understanding of the special characteristics of the pounding cloth motif, through examining how European, American and Japanese academics of the first half of the twentieth century formulated their ideas about the first known painting of this subject — Court Ladies Preparing Newly Woven Silk. Further on, based on eight art objects depicting pounding cloth motif, discovered between 1960 and 2008, the author uses pictorial analysis and comparative method to reconstruct the chronology of the motif, and to discuss its genre and poetic characteristics. Finally, the research focuses on cross-cultural nature of the pounding cloth motif, given the fact it was imported via Chinese Tang dynasty poetry to the court of Japanese Emperor Saga (r. 809 – 823). The author examines the motif’s development in the new cultural context and the characteristics of its pictorial representation. Cross-cultural analysis enables the author to investigate the unique features of the pounding cloth motif in the Japanese art, and to compare the development of the same pictorial motif in these two cultural environments.