宋徽宗朝花鳥畫成就，長久以來一直是學界關注課題。其多數存世作品上詩畫二種藝術並呈，從詩畫關係切入的研究觀點也因此成為重要角色。不過，由於詩畫關係的論述容易因主觀作用招致批評，解讀圖像與文字之際，其二種藝術類型的互換過程如何取得共識，亦是此類研究的挑戰。本文的研究取徑，擬從「題畫文化」的視野進行修正，旨在留心題跋活動之歷史脈絡研究，從詩文、圖繪各別藝術型態的分析，更為深入其題詠創發活動之際的互動歷程。而透過這一脈絡研究的思考，冀能對徽宗花鳥中的詩畫成就提出新的解析，以能掌握其畫史意義。

全文首先將透過北宋中期士人論畫強調形意二元的新趨勢，觀察其對北宋徽宗朝階段之作用。其次，解析《宣和畫譜》敘論文字，釐清「形意」二元論畫趨勢的延續情況，而此趨勢也與徽宗畫學目標互有作用。再從《宋會要輯稿》重新掌握北宋瑞異活動以及其呈報瑞物流程，可知徽宗題詩是一新增程序，更成為確認瑞物的重要環節，顯示徽宗題詩與圖繪之間的緊密相輔程度。接著，本文將分別解析《祥龍石》、《五色鸚鵡》、《蠟梅山禽》與《芙蓉錦雞》之詩畫內容，由於並重「形意」進而說明這些徽宗朝花鳥畫並非可任意解讀詩文、圖繪的素材。其功能明確為朝廷畫院之製，既是聖人治世之績，也是君臣共覽之物，對其內容意義的解讀當限於此一政治架構內。

Bird-and-flower paintings from the reign of Song Emperor Huizong have long been a popular area of research among scholars. As most extant bird-and-flower paintings from this period come with poems, the relationship between painting and poem occupies a significant position in the research on these paintings. However, this type of research is often criticized for its tendency to use subjective interpretation. While scholars seek to interpret the paintings’ imagery and text, coming to a consensus about how the two art forms interact is a challenge that has yet to be overcome. The present study will take a different direction from the methods of previous research by investigating the culture of painting inscriptions and will focus on the historical context and development of inscriptions and analyze poems and images to deepen our understanding of how they interact. By examining this relationship from the perspective of the culture of painting inscriptions, it is hoped that this paper can shed new light on the bird-and-flower paintings of the Huizong reign and their significance in the history of Chinese painting.

This study will first discuss a new trend in the mid-Northern Song dynasty, in which literati focused on both form and meaning when evaluating paintings, and proceed to examine how this new trend influenced court paintings during the reign of Huizong. Next, we will analyze the texts in the Xuanhe Huapu [Xuanhe painting catalogue] to investigate the continuation of the trend, which influenced and was influenced by the court painting aesthetics of the Huizong reign. Third, the study will use the Song Huiyao Jigao [Song dynasty manuscript compendium] to examine the ruiyi (auspicious omens) recorded during the Northern Song dynasty and the approval process. It will be suggested that Huizong’s writing poems to complement pictorial records of auspicious omens was a new and important part of the approval process. Last, the study will analyze the poems and images in the following four paintings: Auspicious Dragon Rock, Five-Colored Parakeet, Birds in a Blossoming Wax-Plum Tree, and Hibiscus and Golden Pheasant. Because of their equal emphasis on form and meaning, these bird-and-flower paintings produced during the Huizong reign were not subject to arbitrary image composition or interpretation; instead, they were produced by the imperial painting academy to record peaceful and prosperous times under the rule of sages and for the perusal of the emperor and his officials. Any interpretation of these paintings has to be effected with an understanding of this political framework.

宋徽宗; 徽宗畫學; 北宋花鳥畫; 瑞異; 祥瑞圖繪; 題跋活動; 題畫文化

Song Emperor Huizong; Huizong’s aesthetics; Northern Song dynasty; bird-and-flower paintings; auspicious omens; auspicious paintings; colophons; painting inscriptions