| 摘要: | 一向以象徵長生不老之身分為人所知的西王母，是一位中國古代女神，於梁代正式編入道教神仙系譜。西王母之起源可追溯至先秦神話，自漢代以來人們即相當崇信西王母，至今日的華語文化圈亦然。日本桃山、江戶時代的畫家曾經製作數量繁多的西王母圖像，這些西王母圖像為何被製作？為誰製作？象徵何種意義？以上問題均尚未得到解答。學界研究顯示，西王母的古今各種傳說與其漢代之圖像研究已得到充分發展，然而漢代以後的西王母圖像目前仍未成為研究重點。再者，日本畫家所繪製的大量西王母圖像顯然亦在藝術史中被忽略。本論文的目標即是試圖說明桃山、江戶時代西王母圖像的重要性、分析其演化，以及辨識其來源。本論文對中日二地的西王母傳說，以及中國漢代之後、日本桃山至江戶時代的西王母圖像進行研究，特別聚焦於狩野派畫家與圓山應舉（1733-1795）的作品。 研究結果顯示西王母圖像於中日二地，均以長生不老之象徵廣為人知。中國元明時代，西王母圖像與慶壽之場合密切相關，西王母繪畫通常作為贈送壽星之禮物，特別是贈與高齡婦女。在日本，西王母於平安時代的故事中出現，亦從室町時代的能樂開始以主角的身分登場。桃山、江戶時代，西王母圖像的擁有者——熟知能樂內容的天皇、武士、僧侶們——將她視為「治世」與「長生」的象徵，並將西王母畫題使用於公共與私人場域。江戶時代，西王母圖像通常作為女兒節裝飾、婚禮嫁妝以及壽辰賀禮使用，具有祈求長壽之意。 室町至桃山時代的狩野派畫家設立西王母標準形象，江戶初期的狩野派畫家則擷取明代版畫的裝飾性元素，形塑西王母圖像模式。江戶中期，圓山應舉創造了獨樹一格的西王母圖像，其迷人、具體積感、栩栩如生的西王母圖像與過往中日二地的先例有絕大的視覺差異。雖然應舉的作品顯示了對西方透視技法的理解，實際上，應舉的西王母圖像，從以狩野派為中心的傳統西王母圖像內繼承了某些元素。大量的「應舉式西王母」之存在則指出以應舉風格繪製的西王母作品，廣泛受到各地、各階層的歡迎。西王母是江戶時代最受歡迎、最常被選用的唐美人畫題之一，幾乎每個畫派都曾繪製西王母畫作。 本研究結果顯示，身為吉祥美麗之象徵的西王母由於與日本桃山、江戶時代的日常生活有著緊密聯繫，因而成為當時極受歡迎的畫題。 Knowing as the goddess of life and immortality, the Queen Mother of the West (Xiwangmu) is an ancient Chinese goddess and formally adopted into the Taoist pantheon in Liang Dynasty. The origin of the Queen Mother can be traced back to pre-Qin mythology. She was widely worshipped from Han Dynasty onward and is still worshipped as a today in the Greater China Area. In Momoyama-Edo Japan, numerous images of Queen Mother were produced by Japanese artists. Why they were made? For whom they are made? And what did they mean? Those questions have not been answered. In academic researches, previous researchers have studied almost all the legends of Queen Mother and her images in Han Dynasty in detail. However, scholars barely noticed the images of Queen Mother after Han Dynasty. Moreover, the numerous images of Queen Mother produced by Japanese artists are also ignored in art history. The aim of this thesis is to explain the importance, to analyze the evolution, and to figure out the source of images of Queen Mother of the west in Momoyama-Edo Japan. This study would investigate Chinese and Japanese legends of Queen Mother, and her images in post-Han in China and in Momoyama-Edo Japan, especially on the works by Kanō artists and Maruyama Ōkyo (1733-1795). The results of my research indicate that images of Queen Mother of the west were known as a symbol of life and immortality in both China and Japan. In Yuan and Ming China, images of Queen Mother were closely related with birthday parties, and paintings of Queen Mother were usually presented as birthday gifts, especially gifting for elder women. In Japan, Queen Mother appeared in a Heian-period story and also appeared as a leading role in Noh plays since Muromachi period. In Momoyama-Edo period, owners of Queen Mother images, who are emperors, samurais, and monks familiarizing themselves with content of Noh plays, regarded her as a symbol of both “peaceful and prosperous times” and “life and immortality,” and applied the theme of Queen Mother to public and private spaces. In Edo period, the images of Queen Mother were usually used as decoration in Hinamatsuri, as dowry at the time of marriage, and as gifts on birthdays, with the hope of longevity. Kanō artists in Muromachi-Momoyama Japan set up the standard images of Queen Mother of the West. Absorbing the decorative elements from woodblock printings in Ming dynasty, which were exported from China, Kanō artists in early Edo period formed the image model of Queen Mother. In middle Edo Period, Maruyama Ōkyo created his unique Queen Mother images, and the attractive, volumetric, and lifelike images were visually distinct from all the previous Chinese and Japanese Queen Mother images. It seems like his works exhibit a Western understanding of perspective. Actually, Ōkyo’s Queen Mother images inherited some elements from traditional Kanō-centered Queen Mother images. The presence of abundant images of “Queen Mother of the West in Ōkyo-style” indicates that the “Ōkyo-style” were very popular with people of different social status throughout the country. ”The Queen Mother of the West” was one of the most popular and frequently-chosen theme in Edo painting. Almost every school in Edo period dealt with this theme. In summary, this study discovered that the Queen Mother of the West became a very popular theme because she, as an auspicious and beautiful symbol, had a strong correlation with life in Momoyama-Edo Japan. |
