摺扇與摺扇畫並非中國之發明，而係由東邊之高麗、日本傳來，時間早至第十、十一世紀之時。在摺扇的流傳與使用上，中日韓三地可以說很早便形成了一個互有連繫的整體，因而也造就了後世以摺扇為「東亞」文化表徵印象的基礎。摺扇在中國的發展過程中，又以山水畫與它的結合最值得注意。摺扇因為易於摺疊收放，扇面上的山水畫遂也產生一種與畫主絕對親近的關係。它因此不僅是一種前所未有的小型弧形畫面，而且因為這個與畫主的隨身關係，賦予了山水畫在風格形式與意涵方面的特殊表現。

本文首先討論日本扇繪傳入中國後的可能作用，並認為其浦嶼雪景形象不僅關係到北宋人對唐代山水畫的想像，且對當時之江渚小景畫的發展起過正面的作用。本文接著討論摺扇山水畫在十五至十七世紀中國的流行，除了提示中國早期仿製日本摺扇的競爭心理外，也指出中國山水扇畫的特有範式風格之發展。而當摺扇山水隨著它在上層社會中的流行，這些可以「隨身」的小型「金地水墨」山水畫，在文徵明、唐寅等人筆下也作為許多富有的文化新貴在城居中表述林泉之志的媒介。而在十七世紀摺扇山水成為普及性文化產品的趨勢中，除了展現出市井觀眾趣味的表現外，也意謂著繪畫進入城市庶民生活的新現象。以版刻形式出現之《名公扇譜》的流行即為此摺扇庶民化歷史發展的合理結局。當此《名公畫譜》在甫出版後即回傳日本，其角色已無關摺扇，卻作為新出之中國圖像資料庫，對初期日本南畫家如彭城百川的創作有所作用。

Folding fan with painted images came to China as early as around 10th-11thcenturies from Japan and Korea. Its popularity among these regions of East Asia contributed significantly to the shaping of a vivid impression of the so-called “East Asia culture” image in later periods. It is worth noticing that landscape painting became the major decoration on folding fan when Chinese started to produce their own ever since the 15th century which helped to formulate a close relationship between the painting and the fan user for its convenience to be carried around. The folding-fan shaped landscape painting thus was bestowed with new style and expression on its small and curvilinear format.

The first part of this article discusses the possible impact of the transmission of Japanese folding fan to 10th-century China. It speculates that images of riverbank covered with snow on those Japanese fan may inspire Northern-Sung scholars’ imagination toward lost Tang masterpieces, and contribute positively to the emergence of the “small landscape” painting in the early 12th century. The second part deals with questions of stylistic and expressive change appeared on those small landscape painting with gold background made in 15th-17th century China. Along with the popularity painted folding fan received in the Chinese elite society, those monochrome landscape painting on gold background painted by artists such as Tang Ying and Wen Zhengming were used to express the eremitic ideal for wealthy fan users dwelled in cities. Painted folding fan became even more popular during the 17th century. Reaching to the daily life of common people, the landscape fan painting also demonstrates traits of popular taste. The emergence and the wide circulation of the printed The Fan Album by Celebrated Masters in the early 17th century can be therefore considered as the logic outcome of the fan’s popularization toward commoners. When it was imported back to Japan right after its early success in China, the album functioned, instead of being representations of fan paintings but rather as an archive of Chinese pictorial images ready to serve the need of Nanga school painters such as Sakaki Hyakusen.

摺扇; 扇面山水畫; 扇譜; 東亞文化

folding fan; landscape fan painting; Fan Album; East Asia culture