Yuandai huasu ji 元代畫塑記

Yuandai huasu ji 元代畫塑記 is a book on painting written during the late Yuan period by an unknown person. The text was originally a chapter (Huasu men 畫塑門) in the statecraft encyclopaedia Jingshi dadian 經世大典 (part Gongdian 工典), which is lost. However, fragments of it survive as quotations in other books. In the early Republican period, Wen Daoxi 文道希 extracted the painting chapter from the Ming-period encylcopaedia Yongle dadian 永樂大典 and gave it the present name, by which it is included in the seried Guangcang Xuejiong congshu 廣倉學窘叢書. 本書主要記錄元代元貞元年(一二九五)至天歷三年(一三三〇)問，宮廷藝術家繪織帝王貴族肖像，塑造佛道神像所用工料。雖不是專門爲藝術撰寫，但因如實記錄了當時宮廷的此類藝術工程，故對元代宮廷藝術家及其塑繪活動的研究具有史料價值。 本書大致分成四部份：一是《御容》，記載皇宮御用畫師工匠奉命繪制織造皇帝、皇后和王妃等人肖像之事，以及所耗材料的詳細清單。二爲《儒道像》，記繪制孔子像和神道像。三是《佛像》，主要記錄寺廟内佛像塑造和廟内裝飾，並附有地形繪圖和卷軸畫裝裱的記載。四爲《雜器用》，僅載一條，是鑄造挂幡幅銅竿等所用材料記載。每一部份均依年代順序記錄。 This book 一卷primarily records the materials and supplies used by court artists during the Yuan dynasty—from the first year of Yuanzhen (1295) to the third year of Tianli (1330)—in painting and weaving portraits of emperors and nobility, as well as sculpting Buddhist and Daoist images. Although it is not a specialized treatise on art, its faithful documentation of such imperial artistic projects provides valuable historical material for the study of Yuan court artists and their sculpting and painting activities. The book is roughly divided into four sections: 1. Imperial Portraits (御容): Records the court painters and craftsmen commissioned to paint and weave portraits of the emperor, empress, and princesses, along with detailed lists of materials consumed. 2. Confucian and Daoist Images (儒道像): Documents the production of images of Confucius and Daoist deities. 3. Buddhist Images (佛像): Primarily details the sculpting of Buddhist statues and temple decorations, including records of topographical maps and the mounting of scroll paintings. 4. Miscellaneous Utensils (雜器用): Contains a single entry about the materials used to cast copper poles for hanging banners and flags. 本書記載了元代著名宮廷藝術家的藝術活動。由於元代取消畫院，宮廷中以繪畫雕塑謀生的藝術家均被視作工匠，故有關記載很少。如劉元，據《輟耕錄·精塑佛像》一條記載，他曾爲道士，精通中國傳統繪塑藝術，元初又從尼波羅國的阿尼哥學西大梵相，「神思妙合，遂爲絶藝」，但究意塑造了哪些佛像卻無從得知。本書則提供了具體的資料，如延祐四年(一三一七)塑青塔寺山門内四天王，五年塑香山四天王，而此一年間，劉元的身份也從學士變爲總管。有關著名的雕塑家、西域尼波羅(今尼泊爾)人阿尼哥的記載也不少，阿尼哥大德十年(一三〇六)逝世，而大德九年十一月，還在爲中心閣銅佛像的鑄造操心，他還爲道觀塑造過三清聖像。此外傳神李肖巖，阿尼哥之子阿僧哥、劉遠弟子張提舉，以及小杜二、尚提舉吳同僉、稟搠思哥、斡節兒八哈失等中外藝術家的活動及其作品，均有記載。 This book records the artistic activities of renowned court artists during the Yuan dynasty. Since the Yuan abolished the official Painting Academy, artists who made a living through painting and sculpture in the court were regarded as craftsmen, resulting in very few records about them. For example, Liu Yuan is noted in the Chuo Geng Lu (Record of Ceasing Farming) under the entry Exquisite Buddhist Sculptures as having been a Daoist adept skilled in traditional Chinese painting and sculpture. Early in the Yuan, he studied the Western Great Brahman style under the Nepalese artist Ani Ko, achieving remarkable artistic mastery. However, the exact Buddhist statues he created remain unknown. This book provides concrete details, such as in the fourth year of the Yan You era (1317), when Liu Yuan sculpted the Four Heavenly Kings at the Shanmen (Mountain Gate) of Qingta Temple, and in the following year, the Four Heavenly Kings of Xiangshan. During this period, Liu Yuan’s status also rose from scholar to superintendent. There are also extensive records of the famous sculptor Ani Ko from the Western region of Nepal, who passed away in the tenth year of the Dade era (1306). In the eleventh month of the ninth year of Dade, he was still overseeing the casting of a bronze Buddha statue for the Central Pavilion. Ani Ko also sculpted the Three Pure Ones for Daoist temples. Additionally, the book documents the works and activities of other artists, both Chinese and foreign, such as the masterful portraitist Li Xiaoyan; Ani Ko’s son Asanga; Liu Yuan’s disciple Zhang Tiju; as well as Xiao Du’er, Shang Tiju Wu Tongqian, Bing Suosige, and Wojie’er Bahashi. 本書對宮廷繪塑工程的細緻記錄，還有助於我們了解元代佛寺、道觀的布局和藝術風範。如延祐五年(一三一八)命吳同僉在青塔寺後殿正面塑大師菩薩，西壁塑千手鉢文殊菩薩、東壁塑千手眼大慈悲菩薩、山門内塑天王。至大三年(一三一〇)，阿僧哥等人提議在新建寺後殿内塑佛，應遵從佛經之法，由此可見元代講究儀軌的西天梵相頗爲盛行。元代佛像即有「皆見光焰」的銀佛，「歲久不壞」的銅佛，「以布裹漆爲之」的搏換之佛，也有普普通通的泥佛，這些佛像的用料情况以及安置方位，書中也有介紹。如能參照現存元代石窟、寺觀的雕塑和壁畫實際，無疑能對元代繪塑藝術有便深入的了解和研究。# The detailed records of court painting and sculpture projects in this book also help us better understand the layout and artistic style of Buddhist temples and Daoist shrines during the Yuan dynasty. For example, in the fifth year of the Yan You era (1318), Wu Tongqian was ordered to sculpt the Great Master Bodhisattva on the front of the rear hall of Qingta Temple, the Thousand-Armed Avalokiteshvara Bodhisattva on the west wall, the Thousand-Eyed Great Compassionate Bodhisattva on the east wall, and the Heavenly Kings inside the temple gate. By the third year of the Da era (1310), Asanga and others proposed that the newly built rear hall of the temple should have statues of Buddha created in accordance with Buddhist scriptures, indicating the widespread popularity of the Western Heaven Brahman style, which emphasized ritual and iconography, in the Yuan dynasty. Yuan dynasty Buddhist statues included “silver Buddhas all radiating light,” “bronze Buddhas that do not decay over time,” “Buddhas wrapped in cloth and lacquer,” as well as ordinary clay Buddhas. The materials used and the placement of these statues are also detailed in the book. If one can compare these records with the extant sculptures and murals in Yuan-era grottoes and temples, it will undoubtedly provide deeper insights and understanding of Yuan dynasty painting and sculpture art. 書中對繪塑用料的記載極詳，如天歷二年(一三二九)鑄銀佛九身，耗費白銀四千五百零八兩，赤金九十二兩六錢九分、水銀三十二斤……從中可以窺知元代政府從事此類活動是如何奢侈。當然，花費大量金錢力量的結果，是刺激了繪塑藝術的發展。這些用料的詳細清單，當時是作爲政府提供的塑繪用料的準則，供後人參照遵守，今天則可用來研究古代塑繪材料的具體配伍和運用。 The book provides very detailed records of materials used in painting and sculpture. For example, in the second year of the Tianli era (1329), nine silver Buddhas were cast, consuming 4,508 taels of silver, 92 taels 6 qian 9 fen of pure gold, 32 jin of mercury, and more. From this, one can glimpse the lavishness with which the Yuan government carried out such projects. Of course, the large expenditures of money and resources helped stimulate the development of painting and sculpture arts. These detailed material lists served at the time as government standards for providing materials for painting and sculpture, meant as references and guidelines for future use. Today, they are invaluable for studying the specific combinations and applications of ancient artistic materials. 書中某些記載，還透露了元代政府對藝術的態度。例如人們通常認爲，元代前期帝王均不重視中華傳統書畫，然本書卻告訴我們，早在大德四年(一三〇〇)，就已從秘書鑒貯藏的書畫中挑選了六百餘件佳作，專程送往杭州，命巧工精心裱褙，並用江南佳木制成不油木匣和漆匣收藏。此中緣由，值得探究。 Some records in the book also reveal the Yuan government’s attitude toward the arts. It is commonly believed that early Yuan emperors did not value traditional Chinese calligraphy and painting. However, this book tells us that as early as the fourth year of the Dade era (1300), over 600 outstanding works of calligraphy and painting were selected from the archives of the Imperial Secretariat and specially sent to Hangzhou. Skilled artisans were ordered to carefully mount and frame them, and the works were stored in wooden and lacquered boxes made from fine timber from the Jiangnan region. The reasons behind this deserve further investigation. 本書民國五年初版時，書後附有王國維跋文一篇，簡述此書來由和内容。《中國美術論著叢刊》本即據民國五年本排印，由秦嶺雲標點。 有一九一六年《廣倉學窘叢書》刊本、一九六四年《中國美術論著叢刊》本。