吉祥圖的畫意──「開泰圖」的成立與流變

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(1)ͮÑձ‫ܙ‬9‫ۇ؍‬Ϣ¥ʘƀǣ ՚7‫ק‬q Graduate Institute of Art History College of Liberal Arts. National Taiwan University Master Thesis. êώԴȔљҺ Ҕ̈ԴȔĄÑղʁ‫ܐ‬. Picture-Idea of Auspicious Images The Establishment and Transformation of “Kai Tai Pictures” ʤ‫ݖ‬q Lu-wen Hu ɪ؏΢ΟÏý‫ ٻ‬А7 Advisor: Shou-chien Shih, Ph.D. GѲ¿ͮ 104 ā 1 u Jan, 2015 i.

(2) i.

(3) ‫޻ ݙ‬ ̄‫֘ݙ‬ӡ‫֓ڽ‬՚̐̒ࣘۖ‫ࠌڽ‬Ը՚҇Ҹž٠ࡪ՚ϡάΙX̜´̜ࣘ´Ƣ֓ ՚˳ñ˖ֲٍGѰߧ՚ծϮ

(4) ւֹ̧ߐ>ʘļࣘǂոϊ̜՚Ƒк‫ڌ‬ʗȮࣘѤՍ̜ Չ̄Փ̏ࣘ‫ٵش‬Ƣ֣Ÿ Ɗܻxő‫ڌ‬٠˕՚cߑ٘˖ğĝ

(5) ֘ӗ̃֓՚ķࢅÈ ՚ࣘϊkˠϲϥ˿ĉ՚̜ࣘ¬̜‫ݣ‬ւֹ̧Lϊÿί֘՚KȽ

(6) ࢐жٔќ‫

(7) ֓ڌ‬ ߐϴ‫ݎ‬Υ˖xƠ̇̄ࣘ‫ݙ̄ܝ;ה‬՚kϊ̜՚͏ɞΜ͙ցȭ‫ٕݗ‬ʎ

(8) Ʊٖߙ ϴ̧xĐ̜¦ɝٕʎ՚Ȫ۵̛ɣɶ͈Aʇࣘ‫ٵ‬ϪʙƱٕʎ՚͏ɞ@Ơ̇̄‫ݎ‬Υࣘŝ ‫ݖ‬ɍԞXǩȪϋϰ՚Ǩ˿

(9) ٕʎ‫̜ݥ‬ς՘XձՋ՚ήʹőïࠌ‫ࣜܝ‬ә‫ݎ‬ϊ‫ݎ‬Υɐ ̞݉ǃ‫ٕࣘݎܭ‬ʎ‫ش‬ϊԺұ։՚ͤƌʺɞ̜ˬٖࣘGլ͏ܳǦ̜Ʊւֹ̞ɐ ?̉ԅ՚݆̜̖ࠢࣘͤ࣎҄́՚ϻΨ‫ڌ‬ήū̜ࣘΑԐԷǦ

(10) Υ‫;׊‬ΒŐΒٕࣘ ʎT˗ϲAٚࣜ‫ݎ‬Υ‫܍‬՚‫ݓ‬Ǧд˨‫̛ڌ‬Јࠀϊy‫އ‬ցٕʎ՚ς֏ Ϙ֏̪˖ɐÿࣘ ࡰ̜‫چ‬ʆȰèәҀߢĉ

(11) ‫ٵ‬Ϫٕʎǽіࣘɍӗ;ǩʙߞ

(12) ցٕʎͤࠈ̜´xߛ ‫چ‬ʆ߯Ϳ‫ژ‬ƣ՚ߡ‫ޛ‬ӗˣࣘߐřܽ;լ࣏ī‫

(13) ̜ڽ‬TƢӗ‫ܢ‬մ‫ٕݛܟ‬ʎɝȪ۵ ՚݂ղࣘ‫̜ݥ‬սߡƉϪġĝA̕ӗ̛Ğ՚Ɖ;ߍ˔

(14) ̄‫˳ݙ‬ʎ՚‫ܩ‬Μ ‫ޥ‬Μ

(15) ̜T‫ݎݙ̄ܝ‬ΥŗܺȋƄ‫ݙ‬ς‫ٕڗ‬ʎxőЇӠեٕʎ

(16) ‫ٕݙ‬ʎƱ̜‫ݎ‬Υɐ ϰ࠱AέƳؑY࠹̘‫ڌ‬ƌ·ࣘGͤࠈ̜̖҄́ƅ`ιΥΥԒࣘɝιΥ֭ʤԷʅ՚ ̜٘‫ܩ‬AƏӗ;ǩʕĠ

(17) ٕʎւֹ˥օࣘ‫̜ܯٵ׉‬՚‫ݎ‬ΥήūG࢐́AέƳĿ Ġśߠ;࠭ࡇԶ݉՚̜ࣘѤѤ‫̜̄ݥ‬ĥAʇ

(18) ߐϴ‫ݎ‬ΥܳǦ՚[̩ւֹϢի ÿưǉŸTϊԽ‫ٕݙ‬ʎͤ¢ࣘտտ՚ʝř‫ࣘ޻ݙ‬ɍ߄Aզ̜ɝٕʎ՚̄‫؍̜

(19) ݙ‬ ‫ݜ‬ЇӠեٕʎϊƢ¤ȲʲȪࠬ՚ʕ˥ࣘЇٕʎAÌƱ̜ɐߜĉƣࡠϋͤ¢sɚ в‫ܦ‬ʤ՚ٖࠎࣘAŭΜɞܳǦխ࠹ս‫ࣜݜ‬ЇٕʎTӦ˺Ƴ͇ˏ̜ŏ‫ܥ‬ï‫܎܋‬ʁ ȹ̜ࣘŕɓ‫

(20) ࢱڣ‬Їٕʎ՚ɚв‫ݎ‬ΥǦۡҗő‫ܖ܎ غظ‬՚çɂA‫ډ‬Ǫࢨ۳ ֺࣘߐήࡱ՚‫ݽ‬ΨԷɠ‫ܟ‬ίϢ‫ڣࣘת‬әЇٕʎĿĠղ՚әҀƠ̇̄ࣘ‫ٕݙݙ‬ʎ

(21) іǥࣘē‫ݙ‬ϴ‫ݎ‬Υ՚ǩ‫؟‬ŗܺȋƄΰ࡮‫ٕڵ‬ʎ Ї٠ϔٕʎ

(22) ΰٕʎŧϋ Tϊ̜՚ĕ͏ɞٕʎ

(23) ւֹ̧ƱȪϰ࠱ࣘΰٕʎ՚࠹̘ŝ‫ݖ‬ә˛A‫ٕ

(24) ڈ‬ʎA Ì‫̜ݥ‬ò|ĠԠ ̜ֈǝԸҌ‫࢘ۺ‬ә‫ߴࣘك‬ϋϋ‫´̜݌‬Ţƒǩɟȿʏࣘ‫´̜ݥ‬ ՚ۙ۵şԸҌ³̄ҵࢧ

(25) ΰٕʎTͤ¢‫ݨ‬Ɇ՚ϭ HƩۙ۵cҏNւֹ‫ݽ‬Ψࣘ Gͤࠈւ‫ܭ‬cҏϋࡨ҄́՚ɱࡱࣘ̄‫ٕݙ‬ʎƱߐ`‫ݽ‬Ψ ‫?ݎܭࢎݡ‬՚ʕĠ

(26) Ї ٠ϔٕʎͤࠈ̜ˬٖ࠯҅ƭƱAŧϋϰ՚Ջ́N‫ࣘݤ‬BЇٕʎƱ‫ͤ؟ݎ‬ÿϋ Ňʇ҄́ĉ࠯҅ƭ‫ڌ‬ÛvۘÊΜ‫غ ظ‬Ƃŝ‫ٵ‬Ϫ࠹ࣘ࡜̜ւֹNϳpϲ ‫ܧٵ‬ѷіƌࢎࣘɝίі;‫ܥ‬ɉ̜Ҟ݂̄ŧࣘΖƱϴΥ‫݃؍‬pӗւֹɮϮͤÿ

(27) x?‫؟ݎ‬ŗܺϋϰ̧ͤƌࢎࣘɝ̜‫ݎ‬ΥɐʕĠԷࠗࣘ̄‫ݙ‬éٕʎ

(28) ii.

(29) ϴΥҗő‫غ ظ‬Ƃ՚ɚвս‫ݜ‬ԷǦࣘɍŕգίƩ‫׆‬ΖȼŁӾࡁˁҮࡣٕʎ xő‫ى‬ƩʊϭǩȪ࣌ߚ‫ٕڜ‬ʎ

(30) ˁҮࡣٕʎƱՙ˥H͠ŕ̜ƈּ՚͈ܱٟࣘ٦̜ ՚ǉŸGؑY̜˦ɍ Ҥа՚́‫̜ࣘܟ‬ɝ‫غ ظ‬՚̵ҀxőԀ˜ϪϡҤа՚݂ ‫ݙݙࣘݜ‬ˁٕʎ՚ËƝխ͙

(31) ࣌ߚ‫ٕڜ‬ʎƱïŁǝ‫ݎ‬Υɐϰ࠱͸ֺΜɞ̜ܳǦ Č‫غ‬ǂ֍՚ս‫ࣘݜ‬G‫چܢ‬ʑࢊ̜ĉ‫ڊ‬ǩƭϢ࢟͏ÿࠌ‫ۘܝ‬Ϣ՚‫ٕ࣌

(32) م‬ʎTࡃ ̜;ŧĉǩࠀϨŁӾ࢟ࣘƱɇ÷Hͤ࣎‫ܥ‬ձŌ՚҄́Zȶࣘі}˳˺̜ɍƱә xӗǉ

(33) éٕʎɝ‫؂‬ψʗԸ՚̜ә֦՚tÿxő࠹̘̜ࣘˠ̄ӊAզ

(34) ӗɐ‫ݎ‬Υ̜ϥ‫ىތ‬ƩǩࠀϨŁӾ࢟xőЂhƩ‫׆‬ŁӾ࢟

(35) ࢣà̄‫ݙ‬ǩࠀϨŁ Ӿ࢟aҋ߾‫˾ڼ‬ԘǸǝ՚͇ˏ‫ڌ‬ĿĠ͠ҍࣘˉբղȪȆ՚٣‫ࣘؽ‬xőéƱ‫ٗז‬ ‫ڈ‬ŁӾ࢟ϰ࠱՚ѐˏࣘ‫ٕڜߚ࣌ڌ‬ʎ՚ࡃŧ

(36) Ś̄‫ ݙ‬Ratti Textile Center ‫ݶݰ‬k Eva ɟȈۡԠͤ{Zȶ ͤ¢‫ڗײ‬՚ΔǩΏˋܲÈ̜ࣘ˖xèˠ‫ܥ‬ɉƂ

(37) ‫׼‬ ‫׷‬N۳ŧϋ̄ӊ ʴޯԎȪࠐ՚‫܊‬Ġxőé‫׷׼‬՚ŒkϹςީ ࡅ‫ך‬ҙǩή ՚ΑՆž͠у ߝ

(38) Śǥࣘ‫ٗז‬ί[ ;Ơʘêϩ‫ތ‬ιϴЂhƩ‫׆‬ŁӾ࢟֘ Ƃ‫ڈ‬ɔԀɮ̴ࣘήwáȪࠬxőЇȵÒȪȆխ¹‫ڗײ‬՚տӚࠦܲÈࣘxőЯࡘ ԤȪȆ՚ѐˏࣜŧϋ̄ӊ ‫ڊ‬ǩΥȪࡁ‫܊‬ĠȪԸŏ‫ڌ‬ƩࡐȪ۵‫ڌ‬ΜٰҌĥԎȪࠐ ՚‫ݽ‬ĠࣘxőЂhμֳԼǩȪŜϨéߘ՚Ƀ͠ˏ ͠у

(39) ߐéэ՚βߝԀć‫ܝ‬ ‫ݙݙ‬ȲٔʽÜ;Ɂ͠ߊ̜ĉуǊGؑY̜ţήࡱ՚ࡨԺ

(40) ѹϪ´̜ࣘղ՚ә ҀƠ̇̄ߐ`β֭

(41) ϴ‫ݎ‬Υ՚‫׊>ה‬ϥί‫ڤ‬ƩºΞa࡯ȪࡁǉŸࣘʑࡋ՚ժ̊‫ٕ׺‬ ʎɝçɂϪΣۡ՚ʴ‫ࣘܩ‬a࡯ȪࡁΜ͙ Shane McCausland xőŁǝԸ Malcolm McNeill ƱϨ‫ݡ‬H՚ͤƌe‫ٗז‬Ԑգ‫ڗ‬Ǧ

(42) ʎࠬ ȪࠬȆ ŧÓ՚ĿĠࣘࠀĠ ‫ݎ‬Υ˖xࢂĈƠ̇̄

(43) Ś̄‫ۙݙ‬ŒϨϨࠬЇǸǝͤ¢‫ڤ‬Ʃ۳՚Ƀ у֛‫

(44) ݹؚ‬ ̜ɡࡨ̄‫ݙ‬ʎǩ‫ى‬۵‫׵‬՚ЯѰҰٕʎ ՘ߩࠚٕʎࣘs´՚ΜȪƍ՗̜ɝۙ ۵ş՚‫ࣘޒڍ‬ѹϪߐéٕʎ̜ࣘɣAϨ˨ۙ۵şւֹ̧

(45) T̄‫ݙ‬Яȝ‫ࣘڹ‬ǻǦ э£ɍ‫;̜ڌࢰؚ‬ŧˬٖߐ`‫غظ‬ĉʠϊ˪࣋Á

(46) іǥˁ‫ڠآ‬ŧȪTĿĠ‫ݎ‬Υ HAɠ Photoshop ՚ƭࣘ̄‫ݙ‬Ȃ

(47) ‫ݎ‬ΥHٓ‫ݠ‬՚ƌࢎࠀϊԽ̜‫ڊ‬ǩٓ‫ݠ‬ւֹ̧ ՚ȹŒϹҕԥ‫ڌ‬ˁʗʽÜ;Ɂ՚әÕĿĠࣘ̄ӊȂ´

(48) ‫ڊ‬ǩۙş̧ ʎǩ‫ى‬۵‫ ׵‬ ࠽Hʕ՚‫ݓ‬ǦȪࠬȆ ŧȪxőȪʽȃ՚ΐ͎ɍࡠxզ‫̜˫˱ࣘܩ‬ś‫݃;ٵ‬ʑߠࣘ Ȃ´;‫?ޛ‬՚ࡃ̜ࠀ̄ࠚƱˠ

(49) T̄‫ݙ‬ήwáȪࠬ×Ʊŗٖ˒Ԁć‫̘ࣜ࠹ࡧډ‬ ϐǁ jࠖţֱࢴ̵֩ԹƂĿĠࣜƆԨƱ‫ݎ‬Υɐ;‫?ޛ‬՚Ӧˠʕ˥

(50) ̜՚Ɂk;ū࡯ʒɛࠌ̜՚ѷȴࣘә‫ݎ‬ϊ˨ւֹ̧ ÿƩٖɉࠀϊѸࠌ՚‫ؚ‬ ӌ‫ࣘ΃ݰ‬s´˗ϲǦ‫ࣘܩ‬Ȱèΐ͎ߐ;Ă

(51) ̜ӗ‫ݎ‬ΥMAơɁ͟Ϯࣘs´Tࠀ ‫

(52) ݍࢳٵ‬ӳ‫ࡱܢ‬ɝߐ`࠯ࠝѰߧś˫̜ࠠAǧԺ ϲϥؔѩŭƗࣘѣ‫ܢ‬ĎƱ̜ࡨ ‫ܝ‬Nϋࡃ̜֣Ÿ ̜ؑȮ̌ ģīࣘé²ȃȃ˗ϲșЦߐ²AZԸԹ՚ȆȆࣘœ µ̜ؑܳǦߩϋ՚࠹Ă

(53) Ȃ´¼˖˖ĉ̜ϧǦ՚̃

(54) ̖Ս̄‫ݙ‬NkǫǦࣘ‫ڣ‬è߾ ɐÿŋʤ̖ŝ‫ݎߠގ‬ΥϴΥ

(55) ś‫ٵ‬ɣі̫

(56) ࢐жٔќ‫ࣘ֘ڌ‬լĉѰߧ

(57) iii.

(58) ͳ‫ܝ‬. ϴΥࠒɝƩ‫׆‬ΖȼŁӾࡁۘ‫҅࠯غ׾‬ƭߙ۳ւֹּࣘփxˍւֹť֚ ƭ‫ݣܧ‬ƭΎҙ ̞ԺxւֹʩѫΥİ՚ЛЋֹࣘ͟࠯҅ƭ՚ƭʹ՗ɮ

(59) ‫߾;ה‬āࠏҤźσ՚҅ńǽߌӆ‫ڌ‬ϋʟ‫؍‬Ť̛ӗʘ‫ס‬ť֚Ժ݃ࣘ ߙ٘ð‫ݪ‬İ̛ƭࣜG݈ς÷‫֗̍ڈ‬Ժ՚ΣSƭ Җɇܻƭő࠯҅ ƭ>ٗ˅ʹ՚ʅՌ

(60) ͠‫ڽ‬։‫҅࠯׆‬ƭ‫޿ڌ‬χƭࣖǩࠀϨŁӾ࢟ۘࣘ‫׼‬ ‫ࣗ׷‬ӗÛvȼʳίķƠD‫?׶‬ļ‫ܒڼ‬՚٣ɭƂࣘϊ࠯҅ƭHʘvϧμ՚ ࠌ‫ܝ‬v‫߾[ה

(61) ۻ‬āɝ࠯҅ƭ՚̛‫ڌ׆‬Ê̴ ‫ݤ‬İҞæւЅ

(62) ࢣà‫ݛݎ‬ ࠯҅ƭ. ޿χƭϊԽț̢‫ڌ‬ΔӽéǩÊؓNƭʹ‫؍‬Ť̛٘ࣘƱς vȼʳāćxՋު ‫ظ‬Ƃʲ‫҅࠯

(63) ق‬ƭÊؓK‫ܝ‬՚ƭʹĮű‫ۃڽ‬Ř‫܋‬՚ࢬ ‫׋و‬ȝ ɳ‫و‬xőЃ ‫ ׎‬Р ɳ‫÷חڞک‬ιࠆϐ ࣘxр@kӾ՚˅ʹ ŷԞࣘіƭʹÊؓ;ήࡱœ̖ť֚ƭ‫ݪ‬ƭΥխ̖‫ڌ‬ϋʟˮ˂Ә՚éࢁԀ‫;ࣘކ‬ή ࡱeּ࢓Ûv࠯҅ƭòɂʧƫ‫ࠍڌ‬ǥֺ࠱ίŧ;Ջࡱ՚ǦÛԀ‫ڙ‬xőςv࠯ ҅ƭՋުς։Ķ޺ǊϐNʅࣘév࠯҅ƭƭʹ࡜ŧࣘ‫؍‬Ť˅ʹŉՌ

(64) ĉX ҤvࣘࢴȲŚŽ‫۝‬ʀ‫҅࠯ا͵ߔظ‬ƭ ࣘƱі~ߠ֭HࢳԞࢴȲԠˮ ǽղ ՚͏ɞŌĎ

(65) ‫ࣘݎ٘؍ش‬ɝ࠯҅ƭ՚Ԡ‫̖ܧ‬AÌњϋ˜֚N˿ࣘ ࠯҅ƭ ˗‫ۃ‬ÛʍƩĉǩҤեD͎‫ق‬AǕࣘƢ̖Aŧϋv‫ܝ‬ѱ݊΢ƭ‫ۻڌʹ˅ݪ‬Ԟࣘϊx ƭeϪՋ́N‫ݤ‬T

(66) ࠹ܷࠣࣛť֚ƭ ࠯҅ƭ ƭʹ Ջ́ ‫غ׾‬. iv.

(67) Abstract. This thesis aims to explore the establishment and transformation of the gauze embroidery Nine Goats Commencing the New Year at the National Palace Museum in Taiwan. The scope of this thesis is unprecedented because it has created a new framework of applying the “pictorial mode” of the “picture of fortune”(Kai Tai Tu) as the main approach, different from other traditional methodologies such as studying “auspicious pictures” with regard to a series of illustrated transpositions or in the context of vulgar culture. The first and second chapters illustrate how the Tai hexagram from the Chinese Classic of Changes (Yi Jing) has combined with the concept of “seasons” and become auspicious greetings, which have given rise to “pictures” embodying these auspicious expressions. The same chapters also clarify the formal differences of “counting the-nine pictures,” “dispersing-the-cold poetry pictures” and “picture of fortune.” In this vein, it is discovered that the two gauze embroideries, Nine Goats Commencing the New Year and the Welcoming Spring (Metropolitan Museum of Art, New York) are complementary, dating back to Yuan Dynasty in the first half of the 14th century. This artwork is the earliest representative work on the tradition of the “picture of fortune.” In the third, fourth and fifth chapters, this thesis investigates the establishment, inheritance, and transformation of the “picture of fortune.” This thesis argues that the Nine Goats Commencing the New Year and the Welcoming Spring are the combination of the two traditional pictorial modes: “playing children paintings” and “herding paintings.” The pictorial mode of the “picture of fortune” was rendered on the hanging scrolls or textiles in the Ming court. The traditional pictorial mode of the “picture of fortune” include “children in Mongolian clothing,” “goats,” “winter objective views” (such as pine, bamboo, plum, camellias), and is formed as “figures under the tree.” The pictorial mode manifests two distinct characteristics: the correspondence of pictures and texts in the “auspicious pictures” and the strong sense of seasons. Moreover, the “picture of fortune” also show changes in itself in the Yuan and Ming Dynasty. In the Yuan Dynasty, gardens and fields in the “picture of fortune” were merged into one framework, showing its diversity, while in the Ming Dynasty, gardens and fields were separately juxtaposed on the hanging scrolls. Such a pictorial v.

(68) mode is found similar in the two dynasties, but the way of its combination is contrary. In the Qing Dynasty, the Qianlong Emperor ordered that the Suzhou Textile Manufactory make facsimilies of the Nine Goats Commencing the New Year. This embodies how the Qianlong Emperor aspired to pursue rationality and reality. In conclusion, we should not merely consider the “picture of fortune” as a means of giving auspicious greetings during the Chinese New Year. Instead, the prevalence of the pictorial mode from Yuan to mid-Qing dynasty demonstrates how the forms and patterns of the images in pictures are adapted, unveiling the changes of Huayi (Picture-Idea) in pictures. Keywords: auspicious pictures, picture of fortune, pictorial mode, picture-idea, gauze embroidery. vi.

(69) ի э ŗܺȋƄϨɏȴϢ ..................................................................................................... i ‫ ޻ݙ‬.............................................................................................................................. ii HΥͳ‫ ܝ‬..................................................................................................................... iv ‫ڤ‬Υͳ‫ ܝ‬...................................................................................................................... v իэ ............................................................................................................................ vii ‫ ݎئ‬ť֚ƭ՚ւֹԞѿ .......................................................................................... 1 ; ť֚ƭ‫ݪ‬ӗ‫ܣܡ‬ւֹ՚ϻΨ ............................................................................. 2 [ x‫҅࠯غ׾‬ƭӗHˠ՚ւֹ ..................................................................... 4. ‫҅࠯ ׊;ה‬՚ñΖ‫ڌ‬ƭ‫ݪ‬Ժ‫ ؐٷ‬........................................................... 9 ‫ ҅ ࠯ ס ; ה‬ƭ ՚ ȴ Ũ ő ï ñ Ζ ............................................................................ 9 ; ‫ݽࠟڽ‬ΨࣛցҨɔ‫ ثقא‬............................................................................... 9 [ ࢴȲSࡉҖɇƭܻő࠯҅ñΖ՚߈؄ ............................................... 13 ‫ ס [ ה‬ւ ֹ ơ ࢒ ࣛ έ v ‫ ڌ‬Ժ ‫ ؐ ٷ‬՚ ͟ ‫ ܭ‬............................................................. 17 ‫ ҅ ࠯ ס > ה‬ƭ Σ S ƭ x ő Җ ɇ ܻ ƭ ՚ Ռ ŧ ................................... 23 ; ЎԴˏχࣛΣSƭ ............................................................................................... 24 [ я‫ڣ‬πǪࣛҖɇܻƭ ........................................................................................... 26 > ࢬ‫و‬kӾࣛ࠯҅ƭ ............................................................................................... 32 ‫ ה‬Ơ ‫ ס‬ɟ ‫ ̍ ס ڈ ÷ ֱ > ࣛ ؍‬ƭ ‫ ݪ‬ő ࠯ ҅ ƭ ՚ ւ ֹ Ð ¼ ............................... 34. ‫҅࠯ ׊[ה‬ƭ՚ȗϻԀ˜‫ڌ‬ϋv࢕И ..................................................... 37 ‫ ҅ ࠯ ס ; ה‬ƭ ՚ ȗ ϻ Ԁ ˜ ................................................................................... 37 ; ‫̵ܒ‬Ҁ՚ࠌάĆȴ ........................................................................................... 38 [ йƭ‫ڙ࢏ڌ‬Ȯ͛ ................................................................................................... 41 ‫ ҅ ࠯ ס [ ה‬ƭ ‫ ޿ ڌ‬χ ƭ ՚ ࠹ § ................................................................. 43 ; џͬԆѿ‫׾ڌ‬ʠԺΨ ........................................................................................... 47 [ ŷ‫ڙ‬ΗЈ ............................................................................................................... 48 > ؉߾ѣࢎ ............................................................................................................... 51 ‫ ҅ ࠯ ס > ה‬ƭ ޿ χ ƭ ‫ ܒ‬ϋ v Ć έ ......................................................... 64 ; Ӿ‫ݪ‬՚ϋv‫ ˶ܬ‬................................................................................................... 65 [ ƭ‫࢕ݪ‬И‫؍ڌ‬йāЅ ........................................................................................... 69. vii.

(70) ‫ ה‬Ơ ‫ ס‬ɟ ‫ ҅ ࠯ ࣛ ؍‬ƭ ՚ ‫ ܒ ڌ ٗ ܒ‬ʘ v ....................................................... 87. ‫҅࠯ ׊>ה‬ƭ՚ƭʹ‫ލ‬Ұ͟‫ ܭ‬.................................................................. 89 ‫ ס ; ה‬ț ̢ ƭ ՚ ƭ ʹ Ê ؓ ........................................................................................... 92 ; Đ‫ࣛޥ‬Ɂʧƭ̞ћşΖZՋH՚Ȧ‫ ݪ˅׋‬....................................................... 92 [ ƈv՚Ȧ‫׋‬ƭ‫ ݪ‬................................................................................................... 95 > ȯvț̢ƭ՚̛‫ ׆‬....................................................................................... 99 Ơ ț̢ƭÊؓ՚ÿԞőï‫҅࠯ڌ‬ƭNѦޫ ......................................... 112 ‫ ס [ ה‬Δ ӽ ƭ ՚ ƭ ʹ Ê ؓ ......................................................................................... 113 ; Δӽƭ՚խ࠹KࢎÊؓő‫ۻ‬Ԟ ......................................................................... 113 [ Δӽƭ‫҅࠯ڌ‬ƭ՚Ѧޫ ..................................................................... 130 ‫ ס > ה‬ɟ ‫ ҅ ࠯ ࣛ ؍‬ƭ ՚ ƭ ʹ Ұ ...................................................................... 131. ‫ה‬Ơ‫ ׊‬ςv࠯҅ƭ՚Ԁ˜‫ڌ‬՗ɮ ............................................................ 135 ‫ ҅ ࠯ ס ; ה‬ƭ Ջ ު ā ࢑ ‫ ڌ‬Ѧ ޫ ........................................................................ 136 ; ‫ࣛ࢑;ה‬ʧƫH՚ࢬ‫׋و‬ȝ ............................................................................. 147 [ ‫ࣛ࢑[ה‬Eǚ࠱՚ࢬ‫׋و‬ȝ ............................................................................. 156 ‫ ̛ ס [ ה‬ӗ ť ֚ ƭ о ࣛ ʝ ֱ ‫ ˒ ץ ײ‬՚ ‫ ۻ‬Ԟ ˅ ʹ ............................................ 167 ; >ࡉ࠯҅ƭ ......................................................................................................... 167 [ ‫وؤ‬ǫȝ‫ ࠡ׺‬..................................................................................................... 172 ‫ ס > ה‬ɟ ‫ ҅ ࠯ ࣛ ؍‬ƭ ƭ ‫ ݪ‬՚ ޵ İ ‫ ڌ‬Ê ͹ ......................................................... 179. ‫҅࠯ ׊^ה‬ƭƱҤȼ՚ߞԺ‫ڌ‬Β‫ ݤ‬....................................................... 187 ‫ ס ; ה‬Ҥ v ÷ ‫ ֗ ̍ ڈ‬՚ ƭ ‫ ߞ ݪ‬Ժ ............................................................................ 188 ; ÷‫ڈ‬Ȯࣛ͝ՙȝSSƭ ..................................................................................... 188 [ ţ͐‫ס‬wࣛȼʳԺƛ՚‫ עܠ‬............................................................................. 191 ‫ ס [ ה‬Ҥ ࢴ Ȳ ՚ ࠯ ҅ ݈ ő ï ƭ ‫ ́ ࠆ Ͳ ݪ‬ҙ .................................................. 193 ; ࢴȲ˘‫݈҅࠯ז‬G~ςȸȲ࠯҅ƭ ......................................................... 194 [ ࢴȲ˘‫ࡉ>ז‬ƭGϢ࠯݈҅ ..................................................................... 201 ‫ ۝ ס > ה‬ʀ ‫ ҅ ࠯ ܒ ~ ߔ ظ‬ƭ ՚ ߯ Ϳ ‫ ݊ ڌ‬΢ .................................................. 202 ; é{Ҥ~ϴ࠯҅ƭ‫҅࠯غ׾ڌ‬ƭƭ‫?ݪ‬NՌŧ ............................. 208 [ ʍԖ՚oæࣛҤ~࠯҅ƭ՚‫ܒ‬ȇϳ ..................................................... 215 > ‫۝‬Ĳ~ӗXʻўࣝ Ҥ~ϴ࠯҅ƭ՚Ƃ‫ކ‬ч‫ ܡ‬................................. 222 ‫ ה‬Ơ ‫ ס‬ɟ ‫ ࣛ ؍‬õ ‫ ҅ ࠯ ߔ ~ ڌ ܒ‬ƭ ‫ ݪ‬Ʊ Ҥ ȼ ՚ ‫ ڙ ܦ‬............................. 224. ‫҅࠯ ݃؍‬ƭÊؓ՚‫؍ش‬őւֹɮϮ ....................................................... 227 ; ࠯҅ƭÊؓ՚՗ɮ‫ ؐٷ‬............................................................................. 227. viii.

(71) [ ‫ۃ‬Û՚‫ ࡾˋڌڙܦ‬............................................................................................. 230 > ֹ͟Ժֺ࠱՚ŝ‫ٵ‬ˮ ............................................................................. 234 Ơ ࢞‫֚˜֠֕ࣛݎ‬ĉΠ͙kϋ ȼʳH࠯҅ƭ՚Ś;ٍ́ ................. 235. ʺ ԺϢի .................................................................................................................. 239 ƭӸÿۡ .................................................................................................................. 254. ix.

(72) ‫ ݎ ئ‬ť֚ƭ՚ւֹԞѿ ÊؓHƩّxƭ‫̍סࠆͲݪ‬Ҍĥм݁ϋʟ߮֬ࣘʗࡱƭ‫ݪ‬ʴ‫׆‬ÿ>‫ࣘ࠱ֺ؞‬ ߙ٘c‫̛ظ‬ƭ‫ݪ‬Ըу՚Ժ‫

(73) ؐٷ‬ɝHƩk٘‫`ߐࣘܩ‬ƭ‫ݪ‬՚ȠƱǼÎәࡨõ‫ܧ‬ ࠊࣘāӭÆ,ҘҔ̈.SӭÆM݆݃ћ՞ҘӭÆģӽ‫ܔ‬ϔ!8Æۗ‫؞‬ щӨԷÆӨԷђ‫ڼ‬GʛӭÆH́‫ۯ‬ˁ#u#ÆʶҘѴȤI‫

(74) ە‬1 әࡨٖ ‫݈ ݛ‬ςࣘƅ`ϋ࠱ÿԞɝ̖՚ƭ‫ࣘݪ‬ԋǽ۲‫ڕ;ޱ‬ʇšֺ‫٘̉ܟ‬AˡõҪ

(75) ࡠ ߡ̜´¦әҀ˗ť֚ƭ‫ݪ‬H̳ĉŝ¢ւֹ՚ϻΨࣝZɍ?ࣘʇϪAɠȪٗ‫ډ‬ĝί խ࠹ϻΨ՚՗ࣘ͜GϪ;ȴ՚̛Ј

(76) Ȫٗ Craig Clunas Ʊ͟‫ܭ‬ςv‫ܣܡ‬Υİϋࣘ ¦Ԁć ‫ڎ‬HƩԺƠϋ‫ڞ‬ƭоӗȤ‫ס‬м݁՚ԏԀԞ‫ࣜݪ‬2 Śǥࣘť֚ƭ оࡂX;‫ڕ‬ˮ՚ߞԺNǥࣘeŝ‫ٵ‬Ƣ̖Ԁў՚Ժٗ٘ԹԸAŧ՚‫ۻ‬Ԟ˅ʹࣘï Hࡔű՚Υİ‫˶ܬ‬eAɂ˩‫

(77) ܡ‬3 £ւֹ‫ע‬Տ٘‫סࣘݎ‬ϰ ϩϬ‫˚ח‬ԱÑʹ‫ؚڌ‬ ӌԸҌ ‫֘ײ‬Υİ࠹ߖ՚ւֹTĄæѫ©Ȫ՚‫ݎܭ‬NH

(78) 4 ӛ٘ࣘѫ©Ȫ̧ւֹ ٗLϊˠԠήࡱNZࣘ٘࡯ʁ̵ۙ۵ࣘ5 ۙ۵şŔū՚ť֚ƭ‫ݪ‬ւֹ̞ܳŝ‫ڌ‬ѫ ©ȪϪ̧ɝܽࣘ[ٗ՚ւֹŔ˔‫ڌ‬իмϪЗϴ՚ʅՌ

(79) ࡱɝǩࠎ՚‫ܣܡ‬ϻΨࣘ ̜´՚‫ݎܭ‬£ӛˡࢃơĉۙ۵ş՚࠹̘?

(80). 1. 2. 3. 4. 5. ďʈ͖ǈƷēħ‫֨׉‬շϴ‫س‬ӥȔɪǉȤֻԊUˠƅϓMЄΥʲGͮϓ‫ؠ‬¥٢˾ٔˁ шGq9‫؍‬qȏٔð‫ה‬η˞UͥǗϴ‫ك‬ϡ٢˾ٰҪ11

(81) Ƙ&¿ȍȗ2005 ʼ 599-600 Crag Clunas, Empire of Great Brightness: Visual and Material Cultures of Ming China, 1368-1644 (Honolulu: University of Hawaii, 2007), pp. 25-28. ď‫ە‬ʘƀùÏý‫ٻ‬ҚȽȔё֮q֫ǳ‫ܸځ‬ղ9όq\ć'{ѳ΍ʽ̃ƫљҺ cɣGͮʠϢ¥

(82) ձÏْȍȗ2010 ʼ 243-268ďϡq֫ǳЛǼ‫ܸځ‬ ղ̴‫ܸځ‬ĳɈIˤχ‫ק‬ʲFëƋYȔqõƜÆԴҀ.Ȕ‫ټ‬ƀ ɢ‫صۈ‬ѯѣѳĐ‫¿۫۝‬Ƚ‫'؍‬ȱ

(83) ƘGͮ¿ҕ‫ۇ‬Ϣȍȗ1984 ʼ 33Ĳ¿ Ƚ‫؍‬IʘƀrĂʬõǯ‫ܛ‬ԽΠϧŨ͠îҏ6ʘƀ ʬѳύʶ9Ȕ‫ؠ‬¥ƔÛI©Ȕ‫ؠ‬ ¥ρҀěõ¿Ƚ‫؍‬ʘƀG‫ؠ‬¥ղȗӉȔҨîɳ‫ع‬ðõ͆Ȕƅɢ‫صۈ‬ѯѣѳĐ‫۫۝‬ ¿Ƚ‫؍‬ȔĪӱ ć'{ѳ ¿Ƚ‫'؍‬ȱ ʼ 113¿Ƚ‫؍‬Ȕʘƀǂǯ*#ʞGлʩͮ ĈлҦǤ¿ҕɮƔʈʬ‫ڛ‬ś

(84) ¿ҕҦǤtradition populaire ՑɢϳՌõ‫׀‬ɿíôɃ‫ص‬ ƒΊ‫ץ‬ǳ‫ׅ‬ԑ˵ռǳϛՂղʽȽȔќˢ֪ͮŨͿrƇղ@‫¿'̬ۇ‬Ƚ‫؍‬ʘƀIG¿Ƚ‫؍‬

(85) folklore Ȕʘƀ¥ƅɢ‫صۈ‬ѯѳĐ‫¿۫۝‬Ƚ‫؍‬b¿Ƚ‫؍‬Ȕ֕ͯć'{ѳ¿ Ƚ‫'؍‬ȱʼ 91-107 Charlotte Sophia Burne, The Hand Book of Folklore (Liechtenstein: Kraus Reprint, 1967), pp. 1-2.G q‫۫ښ‬ƅɺ̨АՑѳџ֪Ӧѣ۫ ¿Ƚ‫؍‬ӎ‫ק‬

(86) .̊.̊q‫ۇ‬1995 ʼ 1-2 1.

(87) ; ť ֚ƭ‫ݪ‬ӗ‫ܣܡ‬ւֹ՚ϻΨ ̜´ϊůұÈǼxіŔ˔‫ܥ‬ɉ ŇƱʩѫ‫ܣܡ‬ΥİHࣘţֱÊؓÛ‫؂‬՚ ࠌ،ž޵İǽƱ࡙ࢳ࢐ϐ՚ȷ‫߄ۻܥ‬ήʹHŷԞࣝ6 Ȫٗ Maggie Bickford ƱïւֹHͤÿі;ƌࢎ

(88) ť֚ƭխ࠹՚ѣࢎͤ¢ࡒۡŝ‫ܟ‬՚‫ܣܡ‬ϻΨࣘBickford Μ͙Է‫݂ڈ‬ӗі࢑ƭ‫ݪ‬й̛XHƩۙ۵‫ڌ‬ΥİHϧʱҁ՚;ࡱ

(89) ӛ٘ࣘHƩÊؓ ‫ك‬ɠɝť֚ƭо՚ࠪ‫ڌށ‬ā࢑ࣘ7 μϰΥȟ‫ࡥࠟܯ‬υΝ‫ࣘم‬ť֚݃řǩǦ‫ܡ܃‬ӗ ‫ڌ‬ŽԠȪխ࠹՚ϻΨ٘A‫ۙ܃‬۵şւֹࠌ‫

(90) ܡ‬8 ӵ˒՚ւֹٗǦ‫ڽ‬ĝί΢Ԡ ā ࢑Go؊ߐ̱ƭ‫ݪ‬՚Υƭ࠹§

(91) լ‫ڈ‬ǩࠎٖŘϻΨ՚՗͜ÿԞࣘήϪ‫׶‬ʘ՚ť ֚ƭ˖xӗӾ‫ݪ‬ϻΨԺxւֹԺٗ՚‫ࣘݜ̜́چ‬ť֚ƭ՚ւֹߌӆ‫ۙڌ‬۵ş ͠ާࣘť֚ƭǽӗΥkñ‫ע‬NǥĶƿ̞ȼʳH՚‫࠯ܦܝ‬ȇ̛ӗ;²ŝ‫ܭ‬ ‫ݎ‬՚‫

(92) ࢎݡ‬9 ߀ʘࣘȪՃ‫;ލڍ‬҂ɝӾ‫ކ‬Υİ Υİւֹ՚‫ࣘޒڍ‬eȪٗɝ ίࡌ‫ ؀‬ȗϻ‫ڌ‬ǩյΥİ՚խ࠹ϻΨɮ࠯‫

(93) ݎܭ‬ïHࣘŌϴ‫݂܃‬ӗɲί‫࢛ۙ܋‬۵ ՚ƂTߌӆŕĉࠌ‫

(94) ܡ‬խ࠹՚ւֹǩǦəť֚ƭԺ‫ࠊܧ‬ЍֱΥİԞ‫ݪ‬ ՚ϻΨʺԺࣘ‫ݓ‬ǽȪٗ Crag Clunas Ʊ‫ݎܭ‬ǩς‫ڌܣܡ‬Ӿ‫ކ‬Υİϋxǩࠎ՚ť֚ ƭӗ ࣘ‫ݛݎ‬ςvǼxΣȟӗā࢑՚ήʹ

(95) 10 ȉBA‫ֱߐݎ‬ҀĉϊůƱ 6. Maggie Bickford, “Three Rams and Three Friends: the Working Life of Chinese Auspicious Motifs,” Asia Major, Volume XII, Part I (1999 [issued 2000]), pp. 127-128. ˑqʈ“But are we prepared to see this process of recombination and transformation of traditional elements at work in the impersonal expressions of collective aspirations in vulgar visual culture?” 7 Gͮ‫ۃ‬љȔYʚƅ Lothar Ledderose, “Subject Matter in Early Chinese Painting Criticism,” Oriental Art 19:1 (1973), pp. 69-83.ďq̽‫ק‬ĈлGͮљ¥YʚȔ‫ە‬ĺղΡŗǣcٝȔљ‫ܛק‬b Ɉѽʬ‫ڇ‬kƦʶѺ&ȏљõƦGťՈȔƆĢ 8 êώԴղ˸ŗČ‫ے‬Η̽˸ҕɁ̌bԾºƟIԨѐňɴώӟѣϰƕղ˸ҕ ‫ؘ‬Ȇʕ‫ے‬ȔӎǞõGͮřĄ֔ʈ‫ڭס‬Ȕq\ԊϗȔʘƀƅē‫ؙ‬ˑe‫̗؍‬ˑ

(96) ‫ڑ‬Ҙ ‫ه‬Թ΢ƃȍȗ1995 9 ďɽêώԴȔʘƀ¥ƅ Maggie Bickford, “Three Rams and Three Friends: the Working Life of Chinese Auspicious Motifs,” pp.129-131 ȔRϖƜÆĚŬ˵̽‫ק‬êώԴҀIʘƀÍɀЌʈ ĄǺ‫ڦ‬՚ȔӠֹȤЈљ‫ە‬Iʘƀù Ellen Johnston Laing, “Auspicious Motifs in Ninth- to Thirteenth- Century Chinese Tombs,” Ars Orientalis 33 (2003), pp. 32-75; Ellen Johnston Laing õƜ ÆĚŬ˵˸̐ĺռǳԵɕ،љGǣЬ‫ۃ‬ȔԴҀλÐȔêώҺӴƒ ϰƕՉĂȔêώ¾‫ڱ‬ 2ρǯճǡɎHԵӾIG êώԴҀČǉȔțҕ͌ӱϰƕ͌ӱ2ĄʈӔևʁȰȔҦ ϕѓěƜÆԵɕȤЈ،љȔʘƀ9öPʬʦ)ǯΗ̽ƦղŔȤЈљĄʈљʚȔ‫ے‬ϲ ď‫ק̽ە‬ȔʘƀȜƒFΊ‫ץ‬ȤЈĳʈêώ¾‫ڱ‬ȔҺ‫ۊ‬ʕ‫ے‬ʘƀƅϾ‫۔‬ùȔ‫ؗ‬π( ġ*ʞȔȤЈљI‫ܐ‬ć'‫˗ڰ‬ʩÏý‫ۇהٻ‬Ϣ¥GȔՉ˹ղ˒ŔI‫

(97) ܐ‬ձ Ïْȍȗ2014 ʼ 343-384 10 Crag Clunas, “Pictures in the Chinese Encyclopaedia: Image, Category and Knowledge,” in Empire of Great Brightness: Visual and Material Cultures of Ming China, 1368-1644, pp. 112-136. ‫ף‬ùӐ Л,a*(‫ۄ‬ՉĖǼ!‫׫‬ѣ‫ڂ‬ʐʈǳɀȻČȔҦϕĲ Clunas պʈƫ$ǳϰƕ Y‫ە‬Ũ̳ϣƅܑÐƦŨʈʶʬ 2.

(98) ςvԀć˂Ә̸̞ࣘϊɲίHƩ݃‫ܩ‬HЗҞ‫ہ‬ƥ՚ّ̉ࣘClunas ՚ւֹG࡯́Ʊ ͟‫ܭ‬ť֚ƭϴ‫ޥ‬՚ٍ́ࣘÌəі࢑ƭ‫ݪ‬Ժx‫ݛ‬ï‫

(99) ߄ݎ‬ǽƐԺі࢑Ƃ ӗւֹKࢳ٘ŧϋ‫ٵ‬ǧ‫ڌ‬ïsւֹٗ«͎ɝܽࣘpϊŵkɡࡨˬٖ՚ήū

(100) ә ‫ݎ‬ǽࣘɝť֚ƭо՚Ԡ‫ڣܧ‬ÌÂՆƱo؊ˮ՚݈ς̞‫ݽ‬Ψ΢Ԡ‫ڕ‬՚Ͱ‫ ه‬ā࢑ࣘ ɍ‫ݰۦ‬Xߐ`Σՙʘ؈ֶ՚‫ܣܡ‬ϻΨ

(101) іǥࣘť֚ƭTA;ȴÌϊʩѫ‫ܣܡ‬ ΥİN‫ۻ‬Ԟࣘ‫ڣ‬əť֚ƭ‫ܡ‬ӗxAŧ՚ť֚݃́ӗܲ‫̘࠹ܫ‬՚ţćƭ‫ݪ‬Êؓࣘ ̞ܳ‫ۙ˗ٵ‬۵ş՚‫ܦ‬ʤˬٖߐ`ť֚ƭ‫ݪ‬՚ւֹÐ¼

(102) խޫίÊؓ‫ؼ‬Ջ࡙HԺؕ ‫̞׿‬ǘࡱӗȗϻࣘť֚ƭ‫ݪ‬՚ެࢳGA߶࣋ ƕ;ࣘƱ‫ؼ‬Ջ ࡇԶ ԕƛ ҿƛL‫ظڈ‬Ƃ?՛ŝ‫ܟ‬ĉť֚ƭ‫ߐ

(103) ݪ‬о՚˺ѿT ԹԸXŚ;ւֹࢊƿ?՚ƌࢎࣘ‫ݓ‬ǽࣛ;{Ջ‫غ‬Ƃֹ‫׉‬ɲίʁ̞ۙ‫ؼ‬Ջş՚ ւֹ‫ע‬Տࣝ‫ޙ‬ȗϻ՚ۙ۵࠭࢑ߐ`A‫܃‬Υȟ‫ ߄ܯ‬ќɲнְéŝ՚Ƃߪĉ ˩‫࢑;ߐ

(104) ܡ‬ĮűЫ‫ݪڸه‬AŧñΖ ţϪ‫ۻ‬Ԟ՚ƭ‫ݽݪ‬Ψʦࣘɡ‫;;ܝ‬Ķā̛ Aŧ՚ƭ‫ݪ‬Kࢎ‫

(105) ݎܭ‬ ť֚ƭ‫ݪ‬՚ւֹ̞ŝŷԞЍϋֺ@՚‫ܣܡ‬Υİ ̞ŝּ࢓ࡌ‫؀‬N࠱Ƣ‫ޥ‬ā݂ ŧ٘՚ԺʅՌࣘŚǥTŝ‫ٵ‬ӗւֹѫ©Υİ՚Ŕ˔

(106) ӛ٘ࣘơќۙ۵şւ ֹ՚࠹̘ࣘť֚ƭ‫ࡂݪ‬Xƭ‫ݪ‬Ȫ՚‫ݣܧ‬Nǥ̖ࣘĮűƭ‫ݪ‬şւֹ՚ʝ²ٖࠎ

(107) Crag Clunas ́‫ݜ‬ĉHƩۙ۵Hƭࣖpictureࣗ‫ڌ‬Ջࣖpaintingࣗ՚āćࣘ ƭ՚‫ܒ‬ ‫ܥڌ‬ձƱЗϴ?¦‫ڌ‬ՋϪ̧ʅՌ

(108) ߐϊԽίμϰࠪ‫ށ‬Խ‫͚ࣘͨ؀ࡌڤڲ‬Υ kəՋ՚‫ݎܭ‬āӗв࢞‫ڌ‬٥в[ٗࣘΖ‫ݎܭ‬HƩÊؓ‫ۙܣܡ‬۵ϋࣘŵkɝί в࢞ ٥вNӱࢉϪ́‫

(109) ݜ‬в࢞ࢴί٥в՚ࡌд˨Ʊ߀vւֹHʇ ߌӆĥͮࣘ‫ܜ‬ήȪٗɝ٥вՋɁ‫ݎܭ‬՚‫

(110) ݨࢉڽ‬ӛ٘ࣘClunas ҄́ĉǩࠎ՚ƭ PAƱ٥в̞в࢞Ջ՚‫עݎܭ‬ՏNçࣘߐ`ƱԶƛ ҿƛ ӸՋ ɁðԷ ‫ظڈ‬Ƃ?՚ƭGϲŕĉ࠹҄ࣘ‫ܜ‬ή‫ؼ‬Ջ՚‫ ܣܡ‬ƭ‫ݪ‬՚‫߄ݎ‬ЛЋeәҀؑY ࣖPicture and Visuality ߐ`ƭ‫ݎܭ‬՚‫

(111) م‬11 Ƣ٘ Clunasςv՚ƭÎ‫ܣܡڌ‬ˮ in Early Modern Chinaࣗ;Ϣ¦‫ډ‬ĝίԺƭӗ‫ݎܭ‬Kުࣘ͟‫ܭ‬ƭ̧ œ̖NςvΥİ

(112) ӛ٘ࣘі;‫ݎܭ‬нʹəƭ‫ڌ‬ՋĶāӗ[ࣘƱід˨@ࣘ ƭPAǽՋ߶‫ͽڕ‬ϪÊؓࣘƱܲ‫ڌܫ‬Ȯ͛?Ƣ٘AðԀȴнʹ

(113) ߐ` ƭ̞ܳśϊ̖ϐࡨԺࣘ¼˖ˬٖ՚ϊࣘߐïHϨAϨTϪǽՋ;‫ڕ‬՚ 11. Crag Clunas ԾԴ љIYbʕ‫ے‬ʘƀ¥ó‫܀‬ħrπ‫ק‬ȔRϖƅ Crag Clunas, Picture and Visuality in Early Modern China (Princeton N. J.: Princeton University Press, 1997), pp. 9-24. 3.

(114) ́‫ࣝݜ‬Ջ‫ܥڌٵ‬յ]ĥ٘ԹԸ˅ʹϪٍ́՚،̛ࣘߙ٘˅̛Ջ́ ࣘ12ƭ ‫ٵ‬ůeӛࣝ Ʊ͟ɜƭHՋ́՚ւֹ́‫ݜ‬N@ࣘϴΥəɝӗť֚ƭ՚‫غ׾‬ ࠯҅ƭߙ۳ҞæւֹࣘࠒɝƂÿ՗͟‫ܭ‬ƭ‫ݪ‬ǽ̛‫ ׆‬ҏÊ‫ݤڌ‬İ‫ח‬ ՗ɮş՚խ࠹ƌࢎࣘ‫ݓ‬ǽƭ‫ݪ‬ǽÿԞGÊ̴. Ƃ࢓֏ÿ՚̵۵őï‫˒ٱ‬ ՚ʁƶߞ˺ѿӗ. Ƃ՚Ժ‫ؐٷ‬GƱ‫ۙܣܡ‬۵H՚‫م‬Őǽ‫

(115) ח‬ ࠯ ҅ƭƱţϋvAŧ՚Ջ́əࡒ‫͢ס׊ڽ‬Ӂɮ࠯

(116) Ʊ͟‫ܭ‬x?ƌࢎ՚ŧϋࣘ‫́҄ٗז‬ĉߐ`ϻΨ࢓֏XAŧίÊؓ‫ؼ‬Ջ՚>² ɱࡱ

(117) ࢣàϊ࠹ίƂ‫ࣘࡱ;ކ‬Խίť֚ƭ‫ݪ‬ә‫ݎ‬ϊƱȼʳ̞ѫ࠱՛ϊ˚Ա‫ܒ‬ ՚ࣘŝ˿‫ܟ‬ƂΣࠎ?ǩί‫ۙدײ‬۵ࣘƂ‫ۻڌކ‬ԞĎŝ‫ޫٵ‬ʅࣜʁƶ՚‫ڙܦ‬x őƂ‫ކ‬œ̖՚ɱ‫ࠀࣘח؀‬ˡࢃ;ŧĄæٖࠎ

(118) ïэĎϊ‫ޙ‬ȗϻ՚Ԁˮࣘť֚ ƭːŝ‫ٵ‬ϊԀȴֺ࠱̞ϋ࠱Ժ՚ƭ‫ࣘݪ‬Ժϋʟ‫࠱ֺڌ‬ˮ‫ކ‬՚Aŧࣘ xőAŧȗϻ̴ެN@‫̵ܒ‬Ҁխ̖՚݊΢ࣘࠀϨœ̖ƱƂ՚‫ۻ‬Ԟ?

(119) іǥࣘ ‫ٗז‬ʋϮ‫̳ٵ‬ĉƭ‫ٗܒݪ‬ƱƭΥ࠹§ٖࠎNǥ՚ܲ‫ܫ‬Ƣ‫

(120) ؂‬ӗҰ‫چ‬ť֚ ݃՚ƭ‫ࣘݪ‬ïƱ݃́?՚çҙϊǽð‫ݪ‬İࣘƭ‫ٗܫܲݪ‬ǽ˗Υȟࡨѱÿ՗G Ʊٖࠎţֱŝ‫˒ٵ‬Áÿƭоࣝܲ‫ٗܫ‬՚߯Ϳϊl࣋ࣝߐ`߯ͿϊůࡔűЍ`ۙ ۵ş?՚ٍ́ࣝࠀϊւֹH‫ݎܭ‬՚‫

(121) ࢎݡ‬ ϧ˒ࣘŕ࠿ίť֚ƭ‫ˍˍݪ‬Aǽۙ۵ƂŕĉΑۘ «Ƞࣘμϰƭ‫ݪ‬ՆȠԷɠࣘ խ࠹ΥȟÌ‫ܟ‬ί‫ ܯז‬ɟ݈H՚ࡕȟӷ݃ࣘȳήɝί‫̍ס‬ƭ‫ݪ‬Ժ՚‫ࠟ׶‬TÌࡥ υӷѠࣘ˖ւֹі࢑ƭ‫ݪ‬՚μϰ՗ɮƣࡠࠌࠌ

(122) Υȟ‫ڌ‬ƭ‫ݽݪ‬Ψ՚տ‫ك‬Tߔ̛ xÀдè՚ņуࣘǽƱïHɜ˖ʗ۹٘˖ϪΗ՚ւֹ̛Јࣘ‫ٗז‬pƱġĝƚܺ

(123) ϲőŏࠅNۡࣘՆˏϲΒƐ

(124) [ x ‫҅࠯غ׾‬ƭӗHˠ՚ւֹ ћşւֹŕ࠿ίϻΨࣘϲ˖Ǽ՚ϻΨࣘõ՚ւֹήҀࠀÌϊ‫݋?׿‬î

(125) ť ֚ƭ࠭࢑ࣔ࡞ࣘƂ‫ކ‬eŏʅA࣑

(126) ïHࣘ>ࡉ࠯҅;࢑՚ƂՆȠɡ‫ࣘݨ‬B AQƂ‫ކ‬ԷNࣘϴΥւֹ՚K‫ܝ‬Ƃ ԞۘƩ‫׆‬ΖȼŁӾࡁ՚‫҅࠯غ׾‬ ƭ ࣖƭ 1-1ࣘ‫ ࡿܟ‬10ࣗ eϊïHN;

(127) ;‫ڕ‬ѫ©̍ñԺ՚>ࡉ࠯҅ƭ 12. ‫ے‬ǯљҺƅÏý‫ק؏ٻ‬΍ʽ̃ƫљҺ΍ʽ̃ƫљҺcɣGͮʠϢ¥ ʼ 16-17 4.

(128) ‫ۻ‬Ԟˍˍķā‫ץ‬σࣘx>‫ݪ˅و‬ŷԞٗϧӗϏߟ

(129) 13 і࢑x>‫و̞و‬ӗK ࢎ՚Ƃ࠹٣ˮޫɠࣘޫࡠԺ‫ؼ‬Ջş՚‫ܦ‬ʤ‫

(130) ݎܭ‬ ࠯҅ƭĎAӛࣘі՚ йƭ‫ࣘ࡞ܓ‬Bѣࢎ߯Ϳ‫ۻڌ‬ԞࠀϡðԀ‫ݓࣜڙ‬ǽՋࡱHǭ‫ڴ‬ϫ‫׋‬ȝࢬRŗŪࡉ ѭ՚ɳ‫͑ٮࣘو‬Р‫ڞ‬Љ ?͝ࢿ‫׬‬՚˅‫¦ݪ‬ς࢓‫҅࠯ࡉ>ڕ;ڌ‬ƭ‫ݪ‬Ϫćࣘ BҞð޺‫ݜ‬ˮ

(131) ‫و‬Ūࡉѭ ެ‫׺࣓ڽޥڽ‬ϫ࢛՚ǫȝࣘ࢓֏ࡂX‫ࡉࣚو‬ ՚Ժ݃NǥࣘіƭɡϪǫࣚ҅՚‫́ࡻݏ‬ƭࣘŝ‫ܟ‬іުČ‫غ‬Ƃ՚ѣࢎй̛‫ڌ‬ >ࡉ࠯҅ߐ࢑ƭÎ՚Êؓ݃́Ұխŧ

(132) ¼˖҄́՚ϊࣘі{࠯҅ƭࠬ [;=ࣙ;ëāࣘɑìƠࣙ;ëāࣘѦ;‫ڕ‬ˮ՚ť֚‫࢛܋‬ƭǩ˖Ǧ

(133) ֹ‫׉‬ϊƱ ֱࡨѱN@ԹԸі{ʄࣝȫ‫ڌ‬ŧоx>ࡉ࠯҅ӗࢎλ՚ƭ‫ݪ‬N࠱࠹§ӗࣝ ߐ`ͤƌࠀəƱ˒ΥϪ̧࠺߄

(134) і‫ݎף‬Υəx࠯҅ƭӗHˠࣘāé²߾ā‫߾;ה

(135) ݎܭ‬āࠒɝ࠯҅ƭ ՚ƭ‫ݪ‬ñΖ Ժ‫ؐٷ‬xő࢕ИԀ˜ ‫ܒ‬ʘv‫ח‬ǂϴ‫ݽ‬Ψ‫߾[הࣘݎܭ‬āĎҞ æāЅ࠯҅ƭ՚ƭʹҰxőі;ƭ‫ݪ‬Êؓ՚՗ɮࡱ‫ࣘݮ‬ϧ˒‫؍ش‬іƂ ӗ࠯҅ƭ;࢑ƭ‫ݪ‬Êؓ՚ñ‫̧̯ע‬Ӂ՚͏ɞˮٍ́

(136) 14 ‫߾;ה‬ā՚‫ݎܭ‬Խ‫׊[הڌ׊;ה‬й̛ࣘߐ߾}՚çɂK‫ܝ‬ϊɝ࠯҅ƭ ՚ǂϴւֹ

(137) ‫҅࠯˗׊;ה‬ƭñΖ‫ڌ‬Ժ‫ؐٷ‬éࡱʲࣘࢣà͟‫ܭ‬ïӗť ֚ƭ՚݃́ ŽŨ‫ڌ‬Ժñӗࣝïэࣘ£΄ĐްȪٗ՚ւֹ̛ЈࣘˬٖƱԺ‫ٷ‬ ؐ;ࡱࣘϪƅ`ƭ‫ݪ‬ϊ‫ڌ‬і࠯҅ƭƭ‫ݪ‬ŧϋͲࠆԺࣝߐ`xˍࠀќɲί˗ ÷‫ڈ‬ĉχ‫ס‬N࠱Ժ՚ť֚ƭ‫ࣘݪ‬ƱԺٍ́ ƭ‫ۻݪ‬Ԟ?ŐϪƅ`ʅՌࣝϴ ‫׊‬՚ւֹǩǦ‫׆‬ǂίĐkȪٗ՚ւֹ̛Јࣘ˗H΢Ԡÿ࠯҅ƭ՚Ջࡱ́ҙࣘ xőдՉ՚Ժ‫˽

(138) ؐٷ‬xˍ՚ւֹǦəխ࠹ƭ‫ࣘݎܭࢳ;ܡݪ‬ϴΥ;ࡱə‫ڽ‬ մίx࠯҅ƭӗKࢳ՚‫ࣘݎܭ‬Śǥeɝխ߀ԺϋʟN@՚ΣSƭ. Җ ɇܻƭÁÿĶ޺ࣘG͟‫ܭ‬і>ֱƭ‫ݪ‬Êؓţ‫چ‬՚‫ۻ‬Ԟд‫

(139) ݮ‬. 13. Ϻ΂ԍȭ êώƤ˾ԉ‫ڱ‬pƐʽȽʘƀ

(140) ǹƘ#!˺Ǣ2009 ʼ 663G۫ ¹ƅϺ΂ԍȭѳ‫ם‬ǰþ‫۫ה‬ GͮêώԴ˾

(141) ǷĀ̋ē&¿ȍȗ1997 ʼ 243ď ©ĈлėղώúϱÆɮۭԭ‫ڊ‬؋ѣֻ̦.Ô΄ƅėĳ¾‫ڱ‬Ĳղ,ҘҔ ̈‫ە‬ԴҀõչҺղƜÆ.ƒȷëǻɮF‫ڧ‬ʲϺ΂ԍȭmÆIĳʈ,ҘҔ̈ȪȔ ԴҀ,͓>ėʈɀиɢČʁ|ǿ‫؝‬ĊsĳʈЌϱȽƅȔ,ҘҔ̈řҀI £©ď‫ە‬ԴҀ2öƅҧ͛,ėřҀȜƅØ=ǹ GͮêώԴ˾

(142) ɄԹ֧ħʠϢȍ ȗ1993 ʼ 97 -ǣmÆṶ̏͢ԴҀľʈƞ 14 Èǯ¹qͿ̽‫ק‬ù,ҘҔ̈ #ҘΣ̈‫ە‬ë۲Ҕ̈ԴȔԴҀҦϕɮͿҔ̈ ԴѾÆ̽‫ק‬ʕ‫ے‬ĳɈǣřĄȔԴҀҦϕěҔ̈ԴɁɪ‫ڝ‬ǯͮÑɮ˞Аȏ͐Ȕ ̥‫ڙ‬ĳɈƤȜּ‫ڇ‬ϔԂͧĺӎǞƒFʕë 5.

(143) ‫׊[ה‬£΄࠯҅ƭ՚ƭ‫ݪ‬xőϻ‫?ކ‬՚‫ب‬؄ߙ۳āЅࣘ;āࡱࠏҤï‫ڌ‬ ޿χƭࣖƭ 1-2ࣘ‫ ࡿܟ‬12ࣗ[ٗ՚࠹§ࣘŚ;ࡱĎƚܺĆέ࠯҅ƭ։Ă ՚‫ܒ‬ϋ࠱

(144) ϴ‫׊‬ơќ‫ܥ‬ɉ࠯҅ƭ՚ǂ֍ȗϻࣘࢣàX‫ܧ‬ƂӾ‫ࡱކ‬ŷԞ՚ Ԇѿࣘxő࠯҅ƭ‫޿ڌ‬χƭƱ‫̵ܒ‬Ҁ?ϊů;‫߄ݎ٘ߙࣘډ‬éٗ՚࠹ ٣ˮ

(145) іǥࣘۖԽāЅՋࡱ‫؍‬й‫࢕ڌ‬ИࣘĆέ࠯҅ƭ՚̧ɲʘvࣘ°Ĉˍ˒ N‫

(146) ߄ݎ‬ ‫߾[ה‬āəҞæւֹ࠯҅ƭÁӗ;ֱƭ‫ݪ‬Êؓࣘï̛‫ ׆‬՗ɮ՚ߠ֭

(147) і߾}əāӗ>‫ࣘݎܭ׊‬āćϊϴ‫ݎ‬Υ՚>ĉ^‫׊>ה

(148) ׊‬K‫҅࠯ܭ͟ܝ‬ƭ ǽ̛Ջࣝ࠯҅ƭ՚йƭ‫ࣘ࡞ܓ‬Ő‫ڕ;ڌ‬ՋşḨ‫ܟ‬՚ƭ‫ݪ‬A࢑ࣘwk A̘֟ՒіÁϊůŝ‫ٵ‬ŕĉǥΥİˋࡾࣝӛ٘ࣘïܲ‫̞ܳܫ‬p£˚HƩ‫ؼ‬Ջ՚ Ѝ`ÊؓࣘΖϴ‫׊‬əāЅ࠯҅ƭƭʹ،̛՚‫ࣘ؂ܝ‬Gֹ͟ïƭ‫ݪ‬Êؓ՚Ұࣘ ӗіҶőïƱHƩՋş?՚۲‫

(149) ٷ֖ܢ‬ ƱX‫҅࠯ܧ‬ƭ՚ƭʹҰࢌ˒ࣘ‫ה‬Ơ‫׊‬Ďxςv՚խ࠹Ջު ‫ظ‬Ƃ‫ח‬Ƃࣘ ݈ς࠯҅ƭ՚ƭ‫ݪ‬Êؓǽ‫̠܃‬ŔGõėߔ

(150) ࢣàə‫ݎܭ‬ӗť֚ƭ‫ࣘݪ‬խ ࠹՚ՋުƂϊǽ‫ࣝܒ‬ՋުƂN?GϲՆȠ‫ں‬ѐ̞ࢎ‫ޕ‬N࢑՚Υȟ‫ࣘܬݽ‬ ւֹٗˡࢃܲҀ͐ƭ؄ࢲࣘ͟ɜï‫ܒ‬ϋ߰Ն՚۩ؔࢨ‫ࣘ͢ޘ‬ΡƂǽܲ ‫ܫ‬G‫

(151) ܒ‬ïHࣘť֚ƭ՚‫ˍˍܒ‬A‫ۙ؀ࢴڣ‬۵Ƃ߶‫ֹࣘݘڕ‬ǽǩࠎ٘޾ߓ ՚ͣ‫ؼ‬ÿѤʘ‫ס‬ϰ˚Ա̧ࡨ՚Ƃࣝߐ‫ڌ‬ÊؓʁƶՋִ н{՚ԺϪ࠹ࣘн {ǽ՗ͪԺࣝіֱ‫ʹ˅ܒ‬՚࠿ĊŐϊl࣋ࣝࠀəϊϴ‫׊‬Ϩҗő՚‫

(152) ࢎݡ‬ іǥࣘ࠯҅ƭձՋު ɍӗČ‫غ‬՚Ԁ˜Tͤ¢ƭ‫ݪ‬ǽ‫ޏޙ‬ȗϻė՚; `ˬٖࡱū

(153) Ջު‫ظڌ‬ƂƱԺխŧ՚ƭ‫ݪ‬ÊؓϋϊůԹԸAŧ՚‫ۻ‬ԞࣝAŧȗ ϻƱ߯Ŕƭ‫ݪ‬ϋࣘϊůϪAŧ՚ٖࠎࣝ‫ٗז‬əƚܺ˗ԞȠ՚Ƃơ͢x?ƌࢎ՚ ‫ט‬Мࣘ‫҅࠯߄ݎ‬ƭӗñ‫ע‬ǽƱςv‫޵܃‬İGõ‫ࣘܒ‬GŷԞï‫ݨ‬Ɇ՚ƭ‫ݪ‬ ‫

(154) ࠎٵ‬ ‫׊^ה‬ĎԺҤvȼʳ՚ϻΨࣘ١ӚίVࡊϯǽƱ‫̍ס‬ϋߞԺ>ࡉ࠯҅ ƭ‫˗ࡱ;

(155) ݪ‬цМ‫ڌࠟܯ‬ԞȠιʒԺƛ‫ݽח‬Ψ‫֏̩ͩࣘڽ‬Ҥȼ;‫ڕ‬ˮ՚Ժ˺˅ࣜ Ś;ࡱĎ˗ࢴȲ˘‫ܒ‬Ƃࣘ͟‫ܭ‬՜ʍǽƱԺ>ࡉ࠯҅ߐ࢑Kࢎėϋ࢓ ֏ïԏԀ՚́‫٘

(156) ݜ‬ƱࢴȲˠիHࣘ‫ٵ‬ӗ>ࡉ࠯҅Êؓ՚ñ‫ע‬ƂŐϊƅ `ࣝϧ˒£΄ҤvՆȠ՚Ҍ‫ܫ‬цМࣘࠌʴࢴȲ~‫҅࠯ܒ‬ƭ՚‫ڌؐٷ‬çҙ

(157) V ࡊϋϰ~‫҅࠯ܒ‬ƭձèըӡ̶ࣘŉ‫ۻ‬Ԟÿς࢓Aŧ՚࢕ИࣜࡂX࢕ИϪćࣘ 6.

(158) ;`ɧ߾؉˛՚݊΢‫ڌ‬Βĥϊů࢓֏XAŧϋv՚‫؍‬й‫ܥ‬ʅՌࣝƭ‫ͤݪ‬¢X‫ݨ‬ Ɇ՚‫ࣘܬݽ‬śˏւֹٗ؉؉՗͜

(159) ‫ࣘݎ٘؍ش‬ϴΥ˗‫҅࠯غ׾‬ƭÿ՗ࣘ͟‫҅࠯ܭ‬ƭߐ;࢑ƭ‫ݪ‬Êؓ՚ ̛‫ ׆‬՗ɮ‫ڌ‬ҏ‫ࣜݤ‬x‫ؼ‬Ջş՚ւֹ‫ܦ‬ʤࣘāЅ‫҅࠯غ׾‬ƭ՚ƭ‫ݪ‬şőï ӗñ‫ࣘע‬Ʊƭ‫ݪ‬ћşH̯Ӂ՚Ժ

(160) ̞ܳߐо՚ւֹήʹpϪəࣔ࡞՚ƭ‫ؓ׵ݪ‬ ‫ץ‬İ՚࢕ࡓࣘɢïϊƱ࠯҅ƭ;࢑՚ƭ‫ݪ‬ǩǦǮ ԞƱ‫ܟٵ‬՚Ƃːŝ‫ٵ‬ ࠀϊӷࡱBƱԀў‫˖@ؐٷ‬xȠ‫ٗق‬՚˺ѿ@ࣘxɟͭǩࣘĩˡ͇і࢕ࡓ

(161) ӛ٘ࣘ і;ƚܺʋó‫ۖٵ‬ԽՋş՚ւֹࣘ࠺߄ť֚ƭϴ‫ޥ‬՚ۙ۵‫

(162) ࠎٵ‬ϧ˒ࣘ‫ٗז‬ xӗࣘ ť֚ƭւֹGAȰèv‫ۻ‬ʩѫ‫ܣܡ‬Υİւֹ

(163) ԞȠμϰť֚ƭ ƂǦɲȼʳNࣘϴΥ̧ւֹٗࣘϡŝ‫ٵ‬ϊ;̱ť֚ƭH՚‫ݷ‬ε

(164) ť֚՚֚ȟϴÿί‫و‬ ࣘϊxμϰ՚‫و‬ȟʺԿϪťĈŃ

(165) 15 ‫ٵ‬ԺSࡉƍ҅N࢑x‫و‬ӗ‫ۻ‬ԞKࢎ՚Ƃӗ͟‫ܭ‬ť֚ƭNۙ۵ş ݉ࢎ՚K‫ٵ̞ࣘܦ‬xіխ˖գˊ ѱ˖ťÞXŰ

(166). 15. ‫ګ؞ף‬Ď‫ה‬9ՉƵ‫ێ‬Ƨư#

(167) ǹƘ9ˉٔ˺ǖ1958 ʼ 9403 7.

(168) 8.

(169) ‫҅࠯׊; ה‬՚ñΖ‫ڌ‬ƭ‫ݪ‬Ժ‫ؐٷ‬ ϴ‫׊‬ə˗‫҅࠯غ׾‬ƭ՚ǂ֍ւֹÿ՗ࣘࢣàТĄ࠯҅ƭƱҤvȼʳ ՚‫ܭࣘࠟ͟ڽ‬ցҨɔ‫ثقא‬. ցҨɔ‫חث>א‬ӗïȴŨ՚£΄ࣜ͠‫ڽ‬ơ࢒ Ȫٗ՚ւֹ̛ЈࣘGƱіǂ֍?xΥԒ‫ެܯ‬՚‫ݽ‬Ψ݈ς࢑՚࠯҅ Җɇ ‫ڌ‬ΣS‫ח‬ƭ‫˗ݪ‬ÛvĉҤvдՉ՚Ժ‫ࣘؐٷ‬GĶ޺࠯҅ƭƭ‫ڌؓ׵ݪ‬ ΣSƭ ҖɇܻƭN࠱՚ʅՌ

(170). ‫҅࠯ס;ה‬ƭ՚ȴŨőïñΖ ; ‫ݽࠟڽ‬ΨࣛցҨɔ‫ثقא‬ З΄ƭࠟo؊ࣘƩ‫׆‬ΖȼŁӾࡁۘ࠯҅ƭ ࣖƭ 1-1ࣗӗ;ʔƱ‫׾‬Ƴ?x̣ ‫׾‬ğ‫غ‬՚̩Ҁҽ٘‫̛ظ‬՚ǩƼ‫غ׾‬Ƃࣘ16 ‫ܒ‬ήʹķā‫ࣘܓض‬ә‫ݎ‬ϊ‫̵غ׾‬ ۵̞ϊƭ‫ܫܲݪ‬՚‫ײ‬؉֭ʤࣘƵ‫ۻ‬Ԟ‫ײ‬үࣘӗ;{Ƃ‫ކ‬Է՚?RN

(171) ïŨ࠯ ҅ƭL£ցҨɔ‫ࣘ٘ثقא‬17 ‫ܟ‬ίҤȼցҨɔ‫ثقא‬H ȯ‫࠯غا‬ ҅ƭТࣘ18 çɂǽ@ࣛ. Ŕ‫ڙי‬Ҕ̈ԴҊ¹У‫ٱ‬Vl(<‫؜‬%l‫י‬Ѭ‫ڙ‬Ѣ;‫ڳ‬ė %Ѣ;ƚʭė#ђïх ‫ڹ(ڹۜڝ܌‬â Ҧćè̼ğ‫ڶ‬ ͳ5˺љè̼19. 16. ̠Ő֘ƪ‫̐ڙ‬ˢԴٌ

(172) ձͮÑɮ˞Аȏ͐1992 ʼ 128 ƅ

(173) η ΉӚѣ‫ה‬ ̡ӑ̒ǼÏъۜ‫ܮ‬۷‫ה‬Ïъۜ‫

(174) ܮ‬,

(175) ձͮÑɮ˞Аȏ͐1969 ʼ 1707 18 ďԴ‫ڝ‬ǯʶѲ˞ƅ

(176) η ΉӚѣ‫̡ה‬ӑ̒ǼÏъۜ‫ܮ‬۷‫ה‬Ïъۜ‫

(177) ܮ‬, Íٌ 19

(178) η ΉӚѣ‫̡ה‬ӑ̒ǼÏъۜ‫ܮ‬۷‫ה‬Ïъۜ‫

(179) ܮ‬, ʼ 1707΍lУ9=bљʹ UˠƟʖďβٌ̼ʈ¹q̽‫ק‬Ȕ̥‫ڙ‬Ҕ̈Դƒђͫ‫ڱ‬Fԟљʹ.Ȕè‫܋‬ıղƪ‫ڙ‬ ̐ˢԴٌRϖČ'ؓԴٌ¹Û͒‫©ڹۜڝ܌‬ٝ£Čǳѯͳǣƅ˺љè̼ľǟ ‫

(180) ؙ´غ‬1722-1778 è£Čèֽ‫א‬F‫ۊ‬ƅ̠Ő֘ƪ‫̐ڙ‬ˢԴٌʼ 128 9 17.

(181) Դ 1-1ҦŔ&Ҕ̈ԴͮÑɮ˞Аȏ͐ձ 10.

(182) іѠ‫ͤࠟڽ‬ő࠯҅ƭ՚ϻ‫ކ‬ӗ‫ؔا‬ğ‫ࣘغ‬x@ɝі֮ч‫;

(183) ܡ‬S = ʘΖȼŁӾࡁÿӸ՚Ʃ‫׆‬ΖȼŁӾࡁɔӾࣙČ‫;غ‬ϢHŇϪ‫҅࠯غ׾‬ ƭ՚ˇ‫ڙ‬ƭӸࣘ20 ߀ϰ࠹ί࠯҅ƭϧμ՚Υȟ݈ςӗĐʺČ‫غ‬ɮϋ̧ÿӸ ՚ƭࠟࣘޫܿ؉՚çɂͳʺǽ@ࣛі{Ƃ՚‫ʹ˅܎܋‬ӗުࣘȗϻӗ‫׾‬ϴܲ‫ڙ‬ ՚‫ݖ̧ࣘغ׾‬՚‫͏ࣘغ׾‬՚ϊۖԽƱ‫ظ׾؂‬Ƴ?xţֱ‫بڙ‬Ժ;ؔIࠒҀ̣ ‫̛ظ٘ ࣘ׺ڞ׻‬Ƃ?՚ƭ‫

(184) ݪ‬22 ߐֱ‫غ׾‬՚̵۵PGAʒ‫ࣘܟ‬ӛƭࠟ‫ץ‬ o࠿ί‫ף‬ʔࣘϲ‫ٵ‬ɝі̵Ҁ՚ԀўˮϡǦ‫

(185) ݎܭ‬ï‫̵ܒ‬Ҁ࢓ӛG࡯ߑ‫ؚ‬ έ‫̛٘ح‬՚‫

(186) ؔا‬Ś;ήࡱࣘ߀ւֹǦ݂ӗі{࠯҅ƭ‫࡯ڣ‬ÛvŇӗς v̧ࣘ؎࡯ȯv

(187) Ζӗѱ۳Υή¦ࣘϴΥàx‫҅࠯غ׾‬ƭֲN

(188) 23 Śǥࣘ‫ى‬Ʃ‫׷׼‬ǩࠀϨŁӾ࢟Śۘ;{‫҅࠯ڌ‬ƭƱƭ‫?ݪ‬ɄĂխ࠹N‫׾‬ ‫غ‬ƂࣘƱμϰo؊ƭࠟHŽŨӗ޿χƭ ࣖWelcoming springࣘƭ 1-2ࣗ

(189) 24 і {Ƃ‫ࠟڽ‬ίցҨɔ‫ۘࣘث>א‬VҤȼNȯ‫҅࠯ࡉ>ؔا‬ƭࣛ. ¹У‫ٱ‬Vl(<‫؜‬%l‫י‬Ѭ‫ܯ‬9Ԭ‫܉׽‬Ѣ;ξIѢ ;‫گ‬ėӶ ҊUҒ ͖ǈ̩ʑɛۜ‫͗ڹ‬ҙΎ‫ۺ‬Iۜ ‫ڹۜڝ܌‬M‫ڹ‬â25. 20. ‫ל‬Щ݊‫ͮה‬Ñɮ˞Аȏ͐ۜȏƪ‫

(190) ڙ‬ǹƘ̅ĂӉȗ‫؍‬ϛʘƀȗ1970 ѬĨɺђۢԑ˵̳ʈԖΨȭȔ՜ϱȽռȆ 22 ̠Ő֘ƪ‫̐ڙ‬ˢԴٌʼ 128 23 ǣ‫ؽ‬Ȕ‫י‬ѬЌĈρǯ˒Ʀ̐‫ڇ‬ɳȷϱΰȔ‫ژ‬ȆշϴَγǣĳȔ˴Ǻ‫ے‬ǯ‫י‬ѬĈл ќˢȔRϖͨӚփ‫ڦ‬ǎśN‫ה‬ GͮѬը‫ۇ‬Ϣ

(191) Ƙ©qȍȗ2012 ʼ 298-304 ŔҔǂρ‫ە‬ı‫ۃ‬љȔљʹȪρI‫י‬Ѭ‫ۇ‬ϢÏъۜ‫ܮ‬۷‫ה‬Ȕ‫ה‬ǉȜǡԾď˸ʽ ̃ČǣպȖrպʈďÛ‫ۃ‬љǠǳܑȔ‫ڙژ‬ĳɈʈŔȔ‫י‬Ѭͬď"ѥȜΞ‫ק‬ƀ Ѕ͖ǈԾ‫ژ‬ɈȔպ‫ۊ‬ƫùĭȔџɜƒȷ¹qʶ‫ ֺڇ‬١ӱF‫ק‬ 24 ȫɰԴʈѥȜ̀ؓ9ϹӉАȏٔԴٌ When Silk was Gold: Central Asian and Chinese Textiles, ԾďÛĳɈIǉï Welcoming spring ‫۫ښ‬ěƟď©ѥȜˑºȃҺďÛĳɈʕ‫ے‬è‫܋‬ѣͫ ‫ڱ‬ǤͮÑɮ˞Аȏ͐Ήэҝę˦Ю‫ى‬rʶӅ٣ѺÏъۜ‫ܮ‬,‫ה‬ѣʕ‫ے‬q۟̐ďʦ ‫ٽ‬James C.Y. Watt and Anne E. Wardwell, When Silk was Gold: Central Asian and Chinese Textiles (New York: Metropolitan Museum of Art, 1997), p. 194. 25

(192) η ΉӚѣ‫̡ה‬ӑ̒ǼÏъۜ‫ܮ‬,‫ה‬Ïъۜ‫

(193) ܮ‬% ʼ 668 11 21.

(194) ‫ي‬9͏ɳ‫ࡱ?˗ ࣘو‬՚ʺ߄ŝxսߡҤȼ Αۘ՚і{ƂĮűԁ‫࢛ڽ‬Ϫࡳ޷ë‫و‬՚‫׋‬ȝ ő‫׋‬ȝࡷ‫ߐًوސ‬é²ѣࢎࣘ‫ڌ‬ǩࠀϨŁӾ ࢟ۘ޿χƭࣖWelcoming springࣗķāǴŤࣘ Bɤɕeխ‫

(195) ד‬27 іǥࣘ޿χƭ?՚Ņࠪ‫ڌ‬ і‫ࠟܯ‬TխŧࣘΖіѠΥȟͣ߄ٗՍӗԞۘǩࠀ ϨŁӾ࢟՚޿χƭ

(196) ߐé{ƂƱƭ‫࢕ݪ‬И ‫̵ܒ‬Ҁ‫ڌ‬Ժȗ ϻ?՛ķā߀ࣘ‫ݎܭ‬ϋ‫ؚ‬ʒࡨ‫ܝ‬ə[ٗGͤѦ ޫ

(197) З΄Ҥȼ‫ࣘࠟڽ‬Ʃ‫׆‬ΖȼŁӾࡁۘٗŨӗȯ ‫҅࠯غا‬ƭࣘǩࠀϨŁӾ࢟ۘٗӗȯ‫>ؔا‬ ࡉ࠯҅ƭࣘӛ٘ࣘߐé{Ƃ՛ϲԺ‫̵ؔا‬ Ҁ‫ࣘܒ‬B‫ܒ‬ʘvɡࡨࠏҤ

(198) ‫ڣ‬ʲʺ࠯҅ƭ ‫҅࠯ࡉ>ڌ‬ƭNֲżࣘĎɂσҡҚ

(199) ӗX‫ז‬ ٗ۳Υ‫?ݣ࠶ٗݣڌ‬՚ή¦ࣘϴΥəA͞Ժց Ҩɔ‫ث>א‬ɝԞۘǩࠀϨŁӾ࢟N>ࡉ࠯҅ ƭ՚ȴŨࣘ٘Ժï‫ڤ‬ΥƭࠟHWelcoming spring”;Ũլٓ͠‫ݠ‬ӗ޿χƭ

(200) 28 x@Ďɣ ߐé{Ƃ՚ȴŨ՚́ҙϡߙ;їo؊‫ٖڌ‬ ‫

(201) ݛ‬. 26. Դ 1-2ȫɰԴ 9ϹӉАȏ̪ٔʟ. ‫ܯ‬ ռqԉú ‫˕ܯ‬ėŹt‫ܯ‬9 Ҝ‫۔‬ 9 ‫ܯ‬9>ėƅ‫ګ؞ף‬Ď‫ה‬ 9ՉƵ‫ێ‬Ƨư# ʼ 94199448 27 ʨQIl<аաρ‫̪ڝ‬ʟ9ϹӉАȏٔȫɰԴʟ ʈ‫ٱ‬Vl¨<‫؜‬l#< 28 ĚҐҔ̈õչҺ.ղȫɰʕϔðɮΠƱȕΘã ‫۫ڪ‬ȔrĂǉï 12.

(202) [ ࢴ ȲSࡉҖɇƭܻő࠯҅ñΖ՚߈؄ З΄ԞȠŝࡰ՚Υȟ‫ࣘࠟܯ‬ϴΥւֹK‫ܝ‬Ƃ ࠯҅ƭNŨ‫ܪ‬ȴ՚ʘ v@࠿ӗҤࣘԞȠ՚ϻΨɡŝͤ¢;`Ҥȼӗ࠯҅ƭŽŨ՚‫ࣘؐٷ‬ԀćϊҤ ࢴȲɝіŨֲ՚ձҀ

(203) ïH࠹ࠣ՚ƂӗnƩ‫׆‬ΖȼŁӾࡁžıhΖȼŁӾࡁā ۘ՚é{ǩƼ‫ߐࣘغا‬é{ƂϊVࡊϋϰ£΄‫҅࠯غا‬ƭ̧‫ࣘܒ‬ ցҨ ɔ‫ث>א‬āćəïŽŨӗ‫ؔا‬Sࡉƍ҅ƭ‫~ڌ‬ȯ‫ؔا‬SࡉҖɇƭ ࣘ29 ‫ا‬ ؔSࡉƍ҅ƭ‫~ڌ‬ȯ‫ؔا‬SࡉҖɇƭ՚Ջࡱ‫ۻ‬Ԟ‫҅࠯ڌ‬ƭ߀P;‫ࣘډ‬ ŝx։ȴ>ٗN࠱՚࠹§

(204) Ҥ~é{Ƃ՚ՋࡱйƭʝPȰ͵‫҅࠯چ‬ƭ ࣘś ϊϡğɑXՋʔࣘəߵ‫܄ت‬Ă՚рց‫ڪ‬ϱϡūǥȰ΢İï˅‫ݓࣘݮ‬ǽəŌϴ ‫܃‬Ջࡱߵ‫܄ت‬έ՚Р‫ڞ‬рğxʲ̛Ȱ΢՚рࣘ˖ֺ࠱ϡğ࠯࠷ࣖ ‫ؔا‬Sࡉ ƍ҅ƭ‫҅࠯ڌ‬ƭNйƭѦɝ‫ܟ‬ƭ1-3ࣗ

(205). Դ 1-3 ‫ڙי‬#ҘΣ̈Դ

(206) ¯ ղ‫ڙי‬#ҘΣ̈ԴղҔ̈Դ‫܆‬Դ

(207) ͮÑɮ˞Аȏ͐ձ

(208) ºƙyƞ‫٭‬ǭ 29. Yƅ

(209) η ΉӚѣ‫ה‬ ̡ӑ̒ǼÏъۜ‫ܮ‬,‫ה‬Ïъۜ‫

(210) ܮ‬% ʼ 949 ̡ӑ̒ǼÏъۜ ‫ܮ‬,‫ה‬Ïъۜ‫ !

(211) ܮ‬ʼ 3485 13.

(212) ïHࣘıhΖȼŁӾࡁ~ȯ‫ؔا‬SࡉҖɇƭԕѵ՚ࢴȲ˘ࢎŇӗԠ‫ܧ‬Ҥ ȼɝі{ƂNՋ́‫ݣܧ‬՚Ć‫ݽݣ‬Ψࣘïçɂǽ@ࣛ. #ėҺН#ҘòČ̉Лֹ#Դ;óɰnƅż,Ҕ̈Ӵє ϔŔ˸Ѝĳ̗՝®ۧçÖʈ$µ̆ՎռQ&FùKȬ‫؛‬ ɅՃĿ ƍEԲ²

(213) 1782 Ύ‫ڱ‬30 ࢴȲ˘ࢎŝxāӗéѠࣘĐļ߾݈ς~ȯ‫ؔا‬SࡉҖɇƭƱƭ‫ݪ‬Ȯ͛?՚Ɉ ́ࣘĮűXSࡉ‫˒ࣜٗ[҅࠯ڌ‬ļĎɝՍϯʃʁğx‫ٯ‬ȴ

(214) іѠ˘‫ܻܒ‬ e‫܃‬Ȫٗ Maggie Bickford Ժxӗխ࠹ΥԒHϧӗࠌ‫ܝ‬՚‫ݽ‬Ψ

(215) 31 ࢴȲ՚ٖ‫ݛ‬ ‫ڌ‬Ԡ‫ܧ‬ՍӛϪ̧£΄ࣘߐ‫ͤ܍‬ĉ՚ʝ²̧ܷ݃ԁҗ՚́ҙː¼˖҄́ࣘࢣàϊS ‫و‬ϊSࡉ‫ࡻݏ‬՚ƭ‫ݪ‬İࣘïэϊҖɇΣSƭ‫ڌ‬Sࡉ՚࠹§ࣘTɣ ϊ࠯҅‫ڌ‬ҖɇΣSƭϪ࠹ߖࣝ32SࡉҖɇ̞>ࡉ࠯҅ƱHΥ Ժ݃ǒNHࠀϊϭϭ?ŗ՚ť֚݃

(216) ࠹ί࠯҅;ܷ՚Ժ‫ڌ‬Ұҏࣘ źσ ň[Ϫ‫=̈ࣛܩ‬Ǜ9Ɵêĩ33 ߐߵ՚ࡅ߄Pәҗ‫ס‬ѭ

(217) ߶࣋ࣘߐ о՚ܷ˄˪࣋Ϩ̛ӗnǪ̜´ّίԺƱχ‫ס‬՚ť֚݃Źࣝ҅ń‫ڌ‬Ȥ‫ס‬՚࠹§ Őϊϋ࠯ȇԹԸࣝ϶ӧࣖ1130-1200ࣗƱźσϴٍ‫ࣛࠊܧ‬. 30. ɨ‫ے‬ǯďÛĳɈȔ̼āǛԴٌȕΘּʈ͗ҙ¨*VāľħS!(āѓě΍Ʀ ɢԲ²%úƟʖďԴӠœĄǯ͗ҙƍEā*%u͗ҙ¨*Vā*u*!sʈħS !(ā*%u,*sԣs͆ľʈħS!(%āɮ‫ۅ‬uǉɳħS!(%ā ƅGħ‫ؘ‬ԾӚɺԏƁϕhttp://140.112.30.230/datemap/content.php?ChQueryText=η͖ǈ͗ҙ 46 ā 12 u&coreg=on

(218) ٣̨sл2014/11/2114:42 31 Maggie Bickford, “Three Rams and Three Friends: the Working Life of Chinese Auspicious Motifs,” pp. 127-158; “The Symbolic Seasonal Round in House and Palace: Counting the Nine in Traditional China,” in., House, Home, Family: Living and Being Chinese, ed. Ronald Knapp (Honolulu: University of Hawaii, 2005), pp. 349-371.õϰƤ‫ק׏‬qGBickford ʐďɽΎշԌʈǂ͊ӓʕ ‫ے‬q۟bԉ۬ԴҀҺλ 32 ‫ے‬ǯďͫ‫ڱ‬Bickford õƦqЄGÔČ‫ק‬ʲ%ȜʐɳԾǯɰeȔßʗěτÅȔêώչY ĺ΍ҘÅЀӖƤˇFëȔչҺěĄõ Bickford ȔqЄGɁȕΘͿ%ȜѺʈˇʕëȔê ώӎǞƒºμ'Η̽ԖĈлȔӔʁb%ȜȔˤχƅ Maggie Bickford, “Three Rams and Three Friends: the Working Life of Chinese Auspicious Motifs,” pp.142-143; “The Symbolic Seasonal Round in House and Palace: Counting the Nine in Traditional China,” p.356. 33 ‫׺‬ȚSƶǰӴψ

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(275) ѸѪԺϹɼ‫߼ݳ‬ƭ ࣖƭ 1-4ࣘΖȼŁӾࡁࣘıhࣗӗ ࣘѦɝÛv Ȧ‫׋‬ϫ‫ڌ܋‬ŀȯ՚ʅՌ

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(281). Դ 1-4ŪҴϮʴԴ ɮ˞Аȏ͐Ƙ 49. Ŵ΍qGͮǶԬʘƀ

(282) ձɄe˺ŕ1988 ʼ 304 ďʖȆʬɳƙؓρ‫ڝ‬ǯs¹̀ʂʠϢٔղǹƘ‫ۇ‬Ϣ9‫؍‬ČŃqʩèȔϮʴԴĳɈyԖɢ ěΌƅ Richard M. Barnhart, Painters of the great Ming: the Imperial Court and the Zhe School (Dallas: Dallas Museum of Art, 1993), p. 17. 18. 50.

(283) Դ 1-5ҦŔۧՉğϮʴԴ ͮÑɮ˞Аȏ͐ձ. 19.

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(287) Ԗɞ̚Ȅࣘպ‫ڽ‬ϣҜƱǥ‫׻‬ȅԸȝ٘‫܃‬՗ԞࣘߐѠΖZ˷ʃ ͤĉԖɞȩ̏Ը՚Ȧȝࢬ‫ࣛو‬. ɢSӉsf&ǯȶ‫ޝ‬ձGέƅƤ,ƣ‫ڳ‬ėʐ՞½Ǟf&։ ƅʍֱҾIչ͸Đͫɳ‫˜צ‬ƣ ѮƜFԝĉ"ܰKɳ ϓ¨Mѣ‫ף‬ʴ55 ߐ‫܍‬ŝxձĉӃѫεä‫وࢬ׋‬՚Z

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(301) ձձ‫ͥͪܙ‬è˺ٔ1983 ư 191÷ 20ź 3 æ¬ - 55

(302) ɄмŔ ֜Ӵֵ֬

(303) ή ֜Őּȃ ռӅչҷ˽Ҝȃ

(304) .̊.̊ۢȍȗ2002 ʼ 687 56 ¹q۟mĠ‫ڗ‬ǿŭ,ėҔ̈9êώʼ 17-19 20 52.

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(306) ә‫ݎ‬ϊ£΄ϫ࢛̞ǥƱҌĥĆέʘvࣘ՛ϊƱՋࡱçɂϪɍࡐɝ̖Ӿ ՚ĐͤN@ή‫ࣘ׆̛ٵ‬Ʊnιɝί‫ۃ‬Ûّ©ɡϲȰèࠏҤ BәҀ͛ࡂïʲ‫ڈق‬ ύϰ՚˺ѿ@ࣘPˡࢃɜ̳ϡϪΗ՚έvŔ˔

(307) ϊxϴΥ‫׊[ה‬ʋϮ‫ٵ‬ƱĐk ւֹ՚ǂ֍?͎ࣘ‫ق‬ġĝƚܺÿϡϪΗ՚ʘvĆέ

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(309) 57 ıhϴ ~ȯ‫ؔا‬SࡉҖɇƭ՚խ࠹ւֹŝ‫ܟ‬ĐʺȪٗ Maggie Bickford ՚é‫ף‬ɝH Ʃť֚ƭ‫́ݪ‬ҙ͟‫ܭ‬NɚΥࣘߐé‫ף‬Υ‫׊‬ŧϋTϊɝ࠯҅ƭՋࡱçɂ՚Kࢎ Êؓ‫ݎܭ‬ϧӗҞæ ߋ˞ٗ

(310) Bickford Μ͙Ʊ;SSSʘ՗‫ۻ‬՚Υ‫“ ׊‬Three Rams and Three Friends: the Working Life of Chinese Auspicious Motifs” Hơ࢒Xࠍɷ݄߀‫ ࡻݏ݊˂ח‬ƭ‫ݪ‬ ́ҙ‫ݣࠊח‬՚μϰւֹࣘ58 ˂݊ւֹ̖ٗəť֚ƭ‫ֱ;ܡݪ‬ԏԀ՚Ջ࢑‫ݎܭ‬G Yxࠌ‫