國立故宮博物院藏傳陳居中《文姬歸漢圖》為一件工緻巧妙的敘事立軸。這件作品以大畫幅架構出一個位於異域平原內的外交場景，在以「文姬歸漢」為題材的種種作品中，屬於極為罕見的珍品。本文基於前行研究的豐厚論述，擬聚焦討論《文姬歸漢圖》圖寫外交的幽微手段。畫面中除了描繪文姬（蔡琰，177-249）與左賢王的道別，還獨樹一幟地呈現了漢朝使節與匈奴使節交錯排列的場景。更值得注意的是，此作特別在畫面中加入位階高於畫中其他使節的漢代官吏，眾人圍繞且凝視著文姬、左賢王與二位幼兒的別離。官吏現身別離場景，二族使節錯綜交談，這樣的情節實不見於其他以「文姬歸漢」或「胡笳十八拍」為題材的圖繪中，為《文姬歸漢圖》特意創出的敘事情境。本文將以年代的再論作為起點，藉由比對風格結構與圖中器用，暫將此軸的製作時間定於十二世紀中後期，即靠近南宋孝宗朝（1162-1189在位）之時。其次，本文根據圖寫異族的畫史脈絡，分析《文姬歸漢圖》畫面中的人物形象表現與空間建構。藉由圖繪中的人物與空間安排，推論此作首要目標在於展示宋、金交聘的平等關係。《文姬歸漢圖》誕生於國力漸強且要爭取與金對等的孝宗朝，或為宋室力圖恢復之時，衡量自身與外族關係之圖繪珍品。

Lady Wenji’s Return to China, attributed to the Song dynasty artist Chen Juzhong and now in the National Palace Museum collection, is a delicately rendered and ingenious narrative hanging scroll painting. This large-scale work depicts a scene related to diplomacy that is taking place on a foreign plain. It is an extremely rare treasure among the various paintings on the theme of Lady Wenji’s Return to China. Based on detailed discussions in previous research, this article intends to focus further on the subtle means of diplomacy in the painting of Lady Wenji’s Return to China. In addition to depicting the farewell of Wenji (Cai Yan, 177-249) from King Zuoxian, the painting also presents a unique scene with staggered arrangements of envoys for both the Han dynasty and the Huns. What is even more noteworthy is that the painting specifically adds officials from the Han dynasty who had a higher rank than the other envoys in the painting. Everyone surrounds and views the separation of Wenji from King Zuoxian and her two young children. The farewell scene involving officials and the intricate conversation between envoys in the two groups are not seen in other paintings on the theme of Lady Wenji’s Return to China or the related Eighteen Songs of a Nomad Flute. It was a narrative situation specially created for this painting of Lady Wenji’s Return to China.

This article first takes a chronological view as a starting point, and, through the comparison of stylistic composition and utensils used in this hanging scroll painting, tentatively establishes its production time in the mid-to-late twelfth century, that is, close to the reign of Emperor Xiaozong (r. 1162-1189) in the Southern Song dynasty. Second, based on the art historical context of paintings depicting foreign ethnic groups, this article analyzes the spatial construction and expression of the figural forms in Lady Wenji’s Return to China. From the characters and spatial arrangement in the painting, it can be inferred that the primary purpose of this work was to demonstrate the equal relationship between the Song and Jin dynasties. If so, Lady Wenji’s Return to China would have been created during Xiaozong’s reign, which saw a growth in Song dynasty power and a striving for parity with the Jin dynasty. It may have been a graphic example of measuring the relationship between the Song dynasty and a powerful foreign neighboring state at a time when the Song was trying to recover from the earlier Northern Song invasion and near defeat by the Jin dynasty.

文姬歸漢;胡笳十八拍;敘事畫;南宋宮廷;宋金關係

Lady Wenji’s Return to China; Eighteen Songs of a Nomad Flute; narrative painting; Southern Song court; Song-Jin relations