拉施德丁（CA. 1248－1318）是活動於伊兒汗王朝（1258－1353）時期的大臣，他在合贊（R. 1295－1304）及完者都（R. 1304－1316）在位時撰寫了《史集》的第二卷，即世界史卷，卷中含中國史，除了文字之外，還附有中國帝王像。過去這些圖像常被用來佐證伊兒汗與帖木兒王朝（1370－1507）時伊朗與中國的密切關係，但針對帝王圖像本身，則尚未被視為主體研究。本文考察《史集》中國史部分的三個現存版本，包含一件阿拉伯文與兩件波斯文版本，試圖釐清伊兒汗與帖木兒畫家描繪這些外國統治者的方法，並重建三個版本之間圖像繪製的前後關係。據本文的討論，雖然拉施德丁聲稱此圖文參照的方式是參考中國史書而來，但KHALILI阿拉伯文抄本畫家顯然並非根據中國史書而畫，而是以對中國的想像為之，以致在帝王的服裝、冠冕等造型上有所錯誤。而波斯文抄本的HAZINE 1654之圖則直接來自KHALILI本，而對其佚失部分，自加想像補之。HAZINE 1653本則摹自KHALILI本和HAZINE 1654本。

Rashīd al-Dīn (ca. 1248-1318), a vizier active during the Ilkhanid dynasty (1258-1353), wrote the second volume of Jāmi‘ al-tavārīkh (Compendium of Chronicles), a volume devoted to the world history including that of China, that contained not only texts but also portraits of Chinese emperors. Although previous studies have frequently cited these portraits as an evidence of a close Iran-China relationship during the Ilkhanid and Timurid dynasties (1370-1507), the portraits remained largely understudied. In this article, three existing copies of the Chinese history section of Jāmi‘ al-tavārīkh were examined, including one in Arabic and two in Persian, to clarify Ilkhanid and Timurid painters’ approaches to portraying these foreign rulers and to reconstruct the chronological order of when the portraits in the three manuscripts were painted. Although Rashīd al-Dīn claimed to have referred to a Chinese history book when composing the volume, it is apparent that the portraits in the Arabic Khalili manuscript were not illustrated according to real examples from a Chinese history book. Instead, the painter gave free reign to his imagination and made various mistakes in the style of the emperors’ costumes and headdresses. The painter of the Persian manuscript, Hazine 1654, however, directly copied the portraits from the Khalili manuscript and added the missing parts on his own. The portraits in Hazine 1653 were copied from both the Khalili manuscript and Hazine 1654.

拉施德丁; 蒙元; 伊朗; 歷史; 手稿

Rashīd al-Dīn; Mongol; Iran; history; manuscript