朱舜水肖像画的形成过程及其思想史意义

发布时间：2018-03-04 03:09

本文选题：朱舜水　切入点：肖像　出处：《浙江社会科学》2017年11期 　论文类型：期刊论文

【摘要】：根据朱舜水真人绘制的原像和后来据此原像临摹的画像至少有十一种,其中水户彰考馆(现为财团法人德川博物馆)所藏的四种画像或塑像,是以朱舜水本人为对象并经过再创作而绘(制)成的原像。幕末期的朱舜水肖像,出现了武士化的迹象,这一信号无疑向我们昭示了幕末志士们想用武力来回复皇权、剿灭贼寇的政治诉求。而被明显强化了的朱舜水的武士形象,就是在这样的背景下应运而生的。本文的目的,是从不同时代的朱舜水肖像中看到日本社会的实际需要,再从日本社会的实际需要中把握到它背后历史剧变的时代脉搏。
[Abstract]:There are at least 11 kinds of portraits drawn by Zhu Shunshui and later copied therefrom. Among them, four kinds of portraits or sculptures are collected by Shuihu Chankokuan (now the Tokugawa Museum of the Financial Corporation). The portrait of Zhu Shunshui at the end of the curtain shows signs of samurization. This signal undoubtedly shows us that people with lofty ideals at the end of the curtain want to restore imperial power by force. It is against this background that the image of Zhu Shunshui came into being. The purpose of this article is to see the actual needs of Japanese society from the portraits of Zhu Shunshui in different times. Then from the actual needs of the Japanese society to grasp its historical dramatic change behind the pulse of the times.
【作者单位】：浙江省社会科学院哲学所;绍兴文理学院越文化研究院"鉴湖学者"讲座;
【基金】：国家社科基金重大项目“阳明后学文献整理与研究”(15ZDB009) 贵州省2017年哲学社会科学规划国学单列课题(17GZGX05)的阶段性成果浙江省社会科学院“中国哲学史”重点学科支持
【分类号】：J209;K883.13

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