朝鮮時代 八駿圖題畫詩文 圖像敘事 嬗變
Transformations in Pictorial Narratives: Inscriptions on the Eight Steeds Paintings of the Joseon Dynasty
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朝鮮時代的八駿圖題畫詩文是圖像敘事與文學書寫交織的複合文本, 承載着政治隱喻的嬗變軌跡與東亞漢文化圈的藝術互動. 本文以‘太祖八駿圖’與‘趙孟頫八駿圖’兩大系列爲核心, 系統分析14至19世紀朝鮮八駿圖題畫詩文的譜系, 揭示‘馬意象’多元象徵系統的歷時性演化. ‘太祖八駿圖’系題畫詩文(15~16世紀)以‘麗祚衰微—天命所歸—創業艱難—永世垂訓’的程式化敘事, 通過‘同類相動’邏輯將八駿塑造爲‘天授神物’. 其戰爭史詩的書寫將軍事征服轉化爲天命化的集體記憶, 完成從暴力到秩序的意識形態建構. 相較之下, ‘趙孟頫八駿圖’系題畫詩文(17~18世紀)在明清易代與丙子胡亂的背景下呈現‘去神化’傾向, 八駿從‘穆王神駒’蛻變爲文化正統斷裂的‘歷史殘骸’, 朝鮮文人借‘今昔對比’折射‘小中華’身份焦慮與人事易朽的文明反思. 二者差異體現文化記憶的書寫範式轉型：前者鞏固王朝話語, 後者解構正統神話. 通過‘圖像 – 文本 – 語境’的跨維度框架, 本文深化朝鮮政治哲學與漢文化接受史的理解, 爲東亞視覺文化與文學傳統研究提供新方法參照.
Abstract
Inscriptions on the Eight Steeds Paintings from the Joseon Dynasty (1392~1897) represent a composite textual form that intertwines visual narratives with literary discourse, reflecting the evolution of political metaphors and artistic interactions within the Sinographic cultural sphere of East Asia. Focusing on two core series—Eight Steeds of King Taejo and Eight Steeds by Zhao Mengfu—this study systematically analyzes the genealogical spectrum of Joseon horse painting inscriptions from the 14th to 19th centuries, revealing the diachronic transformation of the “horse imagery” as a multifaceted symbolic system. The Eight Steeds of King Taejo series (15th~16th centuries) employs a stylized narrative framework—“decline of Goryeo, divine mandate, arduous founding, perpetual admonition”—to construct the steeds as “divinely bestowed entities” through the logic of correlative cosmology (同類相動). Its epic portrayal of warfare transforms military conquest into a collective memory sanctified by celestial mandate, thereby legitimizing the ideological transition from violence to order. In contrast, the Eight Steeds by Zhao Mengfu series (17th~18th centuries), shaped by the Ming-Qing transition and the Manchu invasions (Byeongja Horan), exhibits a “demythologization” tendency. The steeds evolve from mythical symbols (e.g., “King Mu’s divine mounts”) into fragmented relics of cultural orthodoxy, reflecting Joseon literati’s anxieties over their “Little China” identity and meditations on the impermanence of human endeavors. These divergent trajectories highlight a paradigm shift in cultural memory: the former consolidates dynastic legitimacy through “constructive memory,” while the latter deconstructs orthodox myths via “critical memory.” By adopting an interdisciplinary framework integrating “image-text-context,” this study advances the understanding of Joseon political philosophy and the reception history of Han Chinese cultural traditions, offering novel methodological insights for research on East Asian visual culture and literary heritage.