清代富商人物画的形象建构——《富山怡乐图》背后的一段心史

发布时间：2018-04-27 00:38

本文选题：乡贤祠 + 形象建构　；参考：《文艺研究》2017年10期

【摘要】：清代广东巨室,以潘、卢、伍、叶四家为最。《富山怡乐图》是一卷定制的、以清代十三行行商卢文锦兄弟四人为像主的中国人物画。本文将其与卢文锦的肖像油画对比,指出肖像油画中的形象更接近现实中的人物,而《富山怡乐图》中的卢氏兄弟以践行儒家孝悌之士人形象示人,并广邀当地有声望的官绅题跋、颂赞。该人物画卷的定制,可视为"乡贤祠案"后的家族形象重建的尝试,并借此巩固与建立政商间的庇护关系。通过深描《富山怡乐图》及其相关诸多题跋产生的具体脉络,揭示其背后所隐藏的一段像主心史,为了解清代人物画—肖像画的性质与功能提供线索。
[Abstract]:Qing Dynasty Guangdong Giant Room, to Pan, Lu, Wu, Ye Sijia for the most. "Fushan Yi Le Pictures" is a volume of custom, with the Qing Dynasty 13 lines Shang Lu Wenjin brothers as the master of the Chinese figure painting. This article contrasts it with Lu Wenjin's portrait oil painting, and points out that the image of portrait painting is closer to the real character, while the Lu brothers in Fushan Yi Le Picture show people by practicing Confucian filial piety. And invited a wide range of local officials and gentry famous postscript, eulogizing. The customization of the character picture scroll can be regarded as an attempt to reconstruct the family image after the case of "village shrine", and thus to consolidate and establish the sheltered relationship between government and business. Through deep description of "Fushan Yele Pictures" and its related problems and postscript, this paper reveals a history of the main mind hidden behind it, and provides clues for understanding the nature and function of the portrait painting of the Qing Dynasty.
【作者单位】：广州艺术博物院陈列研究部;
【分类号】：J212

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