海上紅學的衍派－改琦「畫」論《紅樓夢》

Abstract

改琦（1773-1828）《紅樓夢圖》不僅為小說人物造像，且給出了一種特殊的人物論，尤其是關注她（他）們「情」的世界。依託《紅樓夢》典範，以圖像創造達到闡釋人心的「畫」論方式，是改琦藝術世界中的一個重要面向。討論它必須和題詠先作區隔，不再籠統稱《紅樓夢圖詠》。它非但是仕女畫傳統與小說《紅樓夢》的有機融合，是江南才子文化結構語境中不同藝術類型的一次空前交集，也是文人版畫的創造與「詩書畫三絕」的傳統新變，更成就了一個圖文新美典，有別於輔助情節、性格展示的繡像插圖。在仕紳友人們的支持下，改琦中年時創作的這四冊少年紅樓人物系譜的白描造像，展現了少年情懷的美學。改琦畫心，尤其是女兒心事（心情），《紅樓夢圖》抒情而不敘事，它是抒／書情的造像，人物在畫面上的刹那與充滿詩意的蘊涵。白描與詩意結合，於元春、寶玉等造像的過程中，改琦完成了一種特殊的闡釋與批評。本文通過改琦的典範造像，揭示它在舊紅學衍派中的價值，凸顯清中葉乾嘉時期海上文人才子於《紅樓夢》「圖像」抒情美學所浥入的創造性意義。

In his Illustrated Dream of Red Chambers, Gai Qi (1773-1828) not only sketches fictional characters but also endows a peculiar discourse-specifically his focus on the ＂affectional＂ life of characters. Entrusting Dream of the Red Chamber as his paradigm and creating certain ＂illustrative＂ discourse in order to interpret humanity within his portraits is a significant dimension in Gai Qi`s world of art. To be able to address the issue, one has to first distinguish the ekphrastic lyrics from the portrayals and no longer refer the work as ＂the illustrated Dream of Red Chambers with lyrics.＂ Not only is the work an organic combination of the ＂lady portrait＂ tradition and Dream of Red Chambers, it is an unprecedented artistic crossover within the context of ＂south of the Yanzi River＂ literati community`s cultural structure-more a creativity of illustrations by literati than portraits that either serves as notes to plots or demonstrations of characters` personality traits. Under the support of his celebrity friends, these four illustrated volumes on young characters in Dream of Red Chambers-completed in Gai Qi`s midlife, showcase his aestheticism on youthful moods. Gai Qi portrays ＂minds,＂ especially juvenile/girls` minds, therefore The Illustrated Dream of Red Chambers features lyricism instead of narration. It is the figurative embodiment of lyricism; a combination of the moments the characters hop from the pages with poetic implications. This is due to the pure illustration combined with poetics. In the process of creating the portraits for Yuan-Chun and Bao-Yu, Gai Qi achieves a unique interpretation and criticism. Through an examination of Gai Qi`s paradigmatic illustrative creativity, this paper aims to reveal the value of the book series in the context of extensive old school of Redology and make manifest the creative significance of Shanghai literati`s endowment on the ＂illustrated＂ lyricism of Dream of Red Chambers in the mid-Qing dynasty.