附魅與祛魅：朱元璋像的真相

Charm or Talisman: The Truth of Zhu Yuanzhang's Portraits

明太祖朱元璋像因版本多、反差大，一向引人關注。通過回溯明、清以來的「政治—社會」變遷，細緻比勘像設的場域、儀態、服飾及表現技法，可以推定，朱元璋異像乃是後朱元璋時代，由明廷提供設計理念、由民間輾轉進行的系列創作。這是一個綿延了幾百年、交織了圍繞著朱元璋的種種附魅和祛魅的複雜過程。皈依近代西化史觀的中國人斬斷了與傳統的血脈聯繫，成了自身歷史的「他者」，朱元璋異像變醜像，正是「高岸為谷，深谷為陵」的見證。

The portraits of Ming Taizu, Zhu Yuanzhang (1328-98), have always attracted attention because of wide variation in the multiple extant versions. This essay traces back through the social and political changes in the Ming and Qing dynasties, and compares and analyzes the positions, demeanors, costumes and techniques of representation in the details of these portraits. The essay argues that these extraordinary portraits were designed posthumously from themes circulating in popular culture, a complex process in the evolution of Zhu Yuanzhang’s talismanic image over several hundred years. Under the influence of Western historiographical perspectives, Chinese people have become severed from their cultural traditions and alienated from their own history. Hence, Zhu Yuanzhang’s extraordinary portraits became "ugly images," truly a case of an upside down perspective: "a high mountain turns into a valley, and a deep valley becomes a high mountain."