作為一個長久以來深受喜愛的意象來說，《洛神賦》不僅是曹植的一個詩篇，而且是其與王獻之書法、顧愷之圖繪這兩個具典範意義的藝術形式之結合。當這個整體形象在後世的傳遞過程中，三者以一種既整合又各自互動的方式，對觀者與創作者產生各種啟發。因之而創生的作品，不但意謂著屬於該時代的新詮釋，也成為下一世代再詮釋的對象。

本文首先討論十二世紀時人企圖重現《洛神賦》傳統的努力。宋徽宗不僅將傳為王獻之所書的《洛神十三行》刻石，並親自書寫，宣示天下。現存三本最古老的《洛神賦圖卷》，雖歸諸顧愷之之手，實亦出自宋代宮廷之製作。但與《洛神十三行》所表現的文雅不同，圖繪的重建呈現了一種古老圖象與當代奇想的混合。以此十二世紀的圖繪為基礎，十四世紀衛九鼎與倪瓚所共同形塑的洛神則是另一種聚焦於絕俗女神的新解，這個形象至十六世紀蘇州的高度商業化的社會中，又再變為仇英筆下的嬌媚美人。十八世紀時乾隆帝在圖卷本身進入其收藏後，不但進行了重要的改裝工作，也命宮廷畫家丁觀鵬依其旨意修改而作摹本。皇帝的動作不但顯示其重回原來洛神賦詩書畫合一的企圖，且藉由其理性化的新詮，也明示著一種「御定」的正統觀。

《洛神賦圖》的歷史發展亦可視為「主題傳統」中的範例。相較於「大師傳統」而言，它在中國畫史中經常扮演著更重要的角色。

As one of the most popular female figure image in the Chinese art history, “Luoshen” not only refers to Cao Zhi’s poem, but also includes Wang Xianzhi’s calligraphic and Gu Kaizhi’s pictorial creations inspired by the poem. Numerous works have been created through responding to this collective image, each representing a distinctive interpretation of its own time, and serving as the foundation for future re-interpretations.

This paper starts with a discussion of efforts trying to reestablish the “Luoshen” tradition in the 12th century. Besides Emperor Huitsong’s engraving Wang Xianzhi’s “Luoshen” on a stele, Song court painters’ recreating Gu Kaizhi’s illustration is also remarkable. Their “Luoshenfu tu”, judging from the three versions still extant today, reveals an emphasis on fantastic elements of the text and a preference on applying their own imagination to create archaic images. Unlike the 12thcentury interpretation, Wei Jiuding and Ni Tsan from the chaotic 14th century collaboratively represented the “Luoshen” as a purified, idealized goddess, while Qiu Yin from Suzhou of the 16th century transformed the goddess into a secular beauty responding to the taste of its highly commercialized society. When “Luoshenfu tu” entered the imperial collection in the 18th century, Emperor Qianlong not only had it assertively remounted, but also commissioned his court painter Ding Guanpeng to make a “copy”, but following his revisionist directions. Its result is a demonstration of the emperor’s dominant attitude toward the past “Luoshen” tradition.

The historical development of “Luoshen” can also be considered as one the best examples representing the shaping process of the “thematic tradition”. Compared with the “master tradition”, the “thematic tradition” very often plays a more significant role in the painting history of China.

洛神賦圖; 顧愷之; 曹植; 王獻之; 宋徽宗; 洛神十三行; 衛九鼎; 倪瓚; 仇英; 乾隆帝; 丁觀鵬

The Goddess of the Luo River; Gu Kaizhi; Cao Zhi; Wang Xianzhi; Huitsong; Wei Jiuding; Ni Tsan; Qiu Yin; Qianlong; Ding Guanpeng