世變、歷史與記憶———湯貽汾《如此江山圖》與鴉片戰争時期詩詞中的鎮江之戰

Vicissitudes, History and Memories: Tang Yifen’s Painting of a Declining Country and the Battle of Zhenjiang in the Poetry during the First Opium War

Abstract

LANGUAGE NOTE | Document text in Chinese; abstract also in English.

道光二十二年（1842），英軍發動揚子江戰役，攻陷鎮江，隨後直抵江寧，迫使清廷簽下不平等的《南京條約》。戰前，黄爵滋以嚴禁鴉片名重當時；戰後，黄爵滋以失察銀庫遭到彈劾。名畫家湯貽汾爲其作《如此江山圖》，描繪戰後焦山風景，陳方海題記拈出圖中隱寄“風景不殊”的感慨，或與鎮江之戰有著緊密的關聯。本文以《如此江山圖》爲開展，試圖透過圖畫題詠及當代時人詩詞中對鎮江之戰的描寫，探究士人如何憑藉圖畫、詩、詞的不同特質，互文參照，形成共同的歷史記憶。除了從題詠中探掘圖畫的創作旨趣，亦從中發掘題詠者有意識地自圖畫延伸出的畫外之意；在“詩史”義理精神的闡發下，建構對陳化成以及兩江總督牛鑑、副督統海齡的褒貶形象；並藉由抒寫鎮江興亡與效仿蘇、辛體的詞作，管窺詞體創作中對“京口三山”一脈相承的書寫傳統。

In the 22nd year of the Daoguang reign (1842), the British Armed Forces waged the Battle of Yangzi River, captured Zhenjiang, and reached Jiangning, compelling the Qing court to sign the Treaty of Nanjing, the first unequal treaty between China and foreign powers. Before the First Opium War, Huang Juezi was known for his strict policy of prohibiting opium. After the war, Huang was impeached for mismanaging the state treasury. He then commissioned renowned painter Tang Yifen to create Painting of a Declining Country, a work closely linked to the Battle of Zhenjiang, and Tang also embedded his lamentation over the perished landscape in this work. Treating this painting as the point of departure and by reference to the descriptions of the Battle of Zhenjiang in poetry, this article seeks to investigate how scholars documented the war with paintings and poems that in turn shaped the collective memories of this piece of history. Inspired by the poets’ profound reflection on the significance of historic events, this article tries to review scholars’ accolades for patriotic military officers and examine the praise and censure of the contentious figure Hailing. This article also aims to take a glimpse of the literary tradition of depicting the “Three Mountains of Jingkou” in Ci poetry through the lens of the Ci works that emulated the styles of Su Shi and Xin Qiji to chronicle the rise and fall of Zhenjiang.