赵孟坚水仙卷研究

发布时间：2018-07-02 20:44

本文选题：赵孟坚 + 水仙卷　；参考：《南京大学》2014年硕士论文

【摘要】：水仙是赵孟坚的主要绘画题材,水仙卷更是他的代表作,在中国绘画史上具有重要地位,然而通过对现存赵孟坚名下的诸本水仙卷进行考辨之后,我们发现各卷本之间具有共同的表达程式,呈现出一种独特的谱系关系,且水仙卷真伪颇有存疑。所以水仙卷的作为赵孟坚的个人“符号”其确立的过程是不以画作的真伪为依据的。从这一奇异的现象出发,我们不禁追问：水仙卷何以越过真伪而成为赵孟坚的人格标志?针对这一问题,本文试图通过四个章节详细加以说明,水仙卷是如何获得它的诸种意象,并对照相关文献资料阐释其意象与史实的偏离的原因。第一章,总述概括赵孟坚的艺术风貌,分两节论述他“清而不凡、秀而淡雅”的画风以及不拘一家之法而万法皆归于“正”的儒家美学观,为赵孟坚水仙卷的意象研究提供理论前提。第二章,从宋代水仙花的文学意象出发,结合时代变迁的历史背景与赵孟坚的宗室身份,分析水仙卷在历代流传过程中的呈现出的意象嬗变,凸显士大夫以文学典故中“洛神”、“湘妃”等爱情憾事隐喻家国兴亡的遗民思想。第三章,对现存赵孟坚名下的诸本水仙卷进行图像程式上的谱系梳理,考证各卷本之间的图像关系,同时整理出历代赵孟坚水仙卷的临仿本,然而分析比较的结果并不以断定真伪为最终目的,而是揭示出这样一个悖论：真迹或许久已不传,但历代士大夫借以抒法故园情怀的诗词题咏和相关著述却使水仙卷意象得到长久地维持,赵孟坚水仙卷体现出的人格符号是架构在不辨真伪的空设之上的。第四章,揭示水仙卷意象不受真伪决定的文化原因,从书画著录和人物品鉴中的“历史陈述”、赵孟坚《彝斋文编》中的“自我陈述”以及后世考辨的“事实陈述”三个方面分析,通过相互对照,展现赵孟坚人物性格的真实性与复杂性,也揭示出水仙卷人格意象与史实的偏离,这种偏离是士大夫依据儒家美学价值观对历史著述进行选择性重构造成的,这显然与解读水仙卷传统意象有所不同,值得学界进一步探讨。
[Abstract]:Narcissus is Zhao Mengjian's main painting theme, and Narcissus volume is his masterpiece, which plays an important role in the history of Chinese painting. We find that there are common expressions among volumes, showing a unique pedigree relationship, and the authenticity of narcissus volumes is doubtful. Therefore, the establishment of narcissus as Zhao Mengjian's personal symbol is not based on the authenticity of the painting. From this strange phenomenon, we can not help but ask: why Narcissus scroll over the authenticity and become Zhao Mengjian's personality symbol? Aiming at this problem, this paper attempts to explain in detail through four chapters how Narcissus Scrolls get its various images, and explain the reasons for the deviation between their images and historical facts according to the relevant literature. The first chapter summarizes Zhao Mengjian's artistic style and features, which is divided into two sections to discuss his painting style of "Qing Dynasty but extraordinary, show and elegant" and the Confucian aesthetic view that all the laws of one family belong to "justice". It provides the theoretical premise for the image research of Zhao Mengjian's narcissus. The second chapter, starting from the literary images of daffodils in the Song Dynasty, combining the historical background of the changes of the times and Zhao Mengjian's clan identity, analyzes the image transmutation of the narcissus volume in the course of the successive dynasties. To highlight the literary allusions, such as "Luoshen", "Xiang concubine" and other love metaphors of the rise and fall of the country. In chapter three, the author sorts out the genealogies of the Narcissus volumes in the name of Zhao Mengjian, studies the image relations among the volumes, and at the same time collates the imitations of the Narcissus volumes of Zhao Mengjian in the past dynasties. However, the results of the analysis and comparison do not aim at determining the truth or falsehood, but rather reveal the paradox that the truth may not have been passed on for a long time. However, the poems and related works used by scholars and officials to express their feelings made the images of narcissus sustained for a long time, and the personality symbols embodied by Zhao Mengjian's narcissus were constructed on the basis of empty settings without distinguishing truth from falsehood. The fourth chapter reveals the cultural reasons why the images of narcissus are not decided by truth or falsehood, from the description of calligraphy and painting and the historical statements of characters. Zhao Mengjian's "self-statement" in Yi Zhai text Editing and the "statement of fact" in later generations are analyzed. By comparing with each other, it shows the authenticity and complexity of Zhao Mengjian's character. It also reveals the deviation between narcissus' personality image and historical facts, which is caused by the selective reconstruction of historical writings by literati and officials according to the Confucian aesthetic values, which is obviously different from the interpretation of the traditional images of narcissus. It is worthy of further discussion by the academic circles.
【学位授予单位】：南京大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J212

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