国家像册的发生—论汉代“史载”肖像绘画
摘要
宫廷画家绘制的肖像主要服务于朝廷,这些宫廷肖像既有祭祀之用的也有颂德之用的,帝王与圣贤的肖像原来大多是作为祭祀之用,而孝列功臣像则是表行纪功的。因于“国家”载体与概念而使这类肖像从意义上不同于其它肖像画,祭祀与颂德成为相互关联,使肖像人成为一种历史价值与国家楷模的标范。而国家楷模与道德追奉又是由先秦祖先崇拜演化来得。本文希望通过研究先秦两汉的大量相关资料,基本阐明的史载肖像绘画的发生原因以及在汉代的发展状况,对汉代“国家相册”进行相对完整的分析。
汉代肖像绘画以其形象之图绘兼任“记传”与“赋颂”,并以“载其容”而兼“叙其事”、“备其象”而兼“咏其美”的功能。形成了一种极具象征意味的“国家画册”形式。研究汉代这种意味深长的“史载”肖像绘画,有助于我们进一步了解肖像画发展的源流,尤其是肖像画在汉代这种特定的历史条件下得以发展的原因,更能从中探讨出社会政治变迁、社会思潮对于历史肖像画发展的影响。
The first chapter is an introduction section. The background of the main topics of the paper, theoretical and practical significance, research status and research method and structure of a simple introduction.
The second chapter is brought against the state and development of the theory album. On the emergence and development of the national album a brief exposition of the concepts and puts forward the concept and basic characteristics of the State album, and then the formation and development of the country album to sort out the relevant theory, followed by analysis with the Qin ancestor worship, "as set. " The purpose of this chapter, this research leads to national theme albums, as contained in later chapters of the history of the Han Dynasty portrait painting and evolution mechanisms of formation and development of a solid theoretical foundation to prepare, to build a framework of rigorous logical analysis of norms.
State Chapter of the Han Dynasty album. This chapter focuses From "History contained" in the perspective of the Han Dynasty Han Dynasty portrait painting country albums comprehensive analysis of the system, summarized the historical and cultural environment in the country album of the main features of the Han Dynasty and Developing, Changes in the history and reality to grasp the The general rule of contemporary country album, set for further study of the history of the Han Dynasty to provide heavy historical portrait painting material.
Chapter IV of the Han Dynasty portrait painting imagined. Previous paper, the development of the Han Dynasty country album sort out the basis of historical context, this chapter first analyzes traditional Chinese painting, portrait paintings presented the art of the Han Dynasty and the essence of the spirit, "like" and narrative portrait of the two main issues, the final Ancient Chinese portrait painting with the trend of development, discussed the problem of the Han Dynasty to portrait painting.
Chapter Five is the conclusion. The main conclusions of the paper and inspiration, innovation and deficiencies are analyzed and discussed.
The main point is as follows:
First, the so-called national album, the Southern National Palace Museum collection the smoke house of a large number of "history as the Empress Xian Chen" to describe the images on the Fu Xi, Emperor Yao, Yu, Shang Tang and King Wu of Zhou five monarch, the next, and Tang, Song, Yuan, Ming Di, after, and like other ancient Xian Chen. Smoked Hall was built during the Southern National Palace Museum, located outside the North West, Wu Yingdian southwest. Canonization ceremony of the Ming Dynasty in the book when writing the official seal Campbell, gold book a place. South Hall of the image after smoked Song, Yuan, Ming and three generations of accumulation, where the volume, volume, axes of a hundred pieces, images of more than five hundred and eighty frames. Those from the "national" collection of portraits, after the Song, Yuan, Ming and Qing. Empress Song of God as the original, mostly around the Royal Palace, the day before Qin Zhang Xiao Si Temple Pavilion and the Shrine, after worship in the temples and the landscape within a spiritual house; the Yuan Dynasty in the royal family have a special dedicated temples dedicated to emperors attached to Royal Yung God Goten. From the ancient royal house of God, the original temple, is placed first move toward the emperor, "Royal God" that is, Yu Yung, tablets and regular place of worship. Since the start of construction during the Northern Song Dynasty, the God father Seonjo Goten to Shinshu toward God Goten has been distributed in the country, the ritual system also begins to form. Store in the Ming Dynasty was the palace of the ancient library through membership, by the supervisor in charge of printed ribbon. Chong placed on three years of Mandarin, Wu ounce Hall; Qianlong be re-placed when the house south smoked, it is traditionally known as the South Hall of the image smoked. These portraits, history has custody of specialized national institutions, most of them from the hands of court painter. Most portrait name shall not fall, the authors who is difficult to trace. Qianlong "Bong imperial possession of the South Hall of the image in mind smoked" lying stone tablet records the text hidden inside the hall from Taihao, Fuxi the following, a total of 121 copies of Emperor Wang Xianchen portrait, painted portrait the size of a total of 583. The article also referred to its instructions from the house smoked, southern Tibet images intended "to show the emperor system each other, said pulse Sri Lanka in" Wang Fu-chih said: "emperor of the place, is that the governance system; sages taught also, is that Orthodoxy" Such is the function of the national album reflects the weathering of Confucian ethics governing education, portraiture as a supplementary means of political indoctrination in the form of emperors attached great importance, "into enlightenment, helping London", has
spread disorder in Rise and Fall of portraits, Ji Gong , Chung Tak, the role of Senior table row, is the recognition of filial piety, power tools Zonta century, but also "national" political public institution and cultural heritage.
Second, before the Han Dynasty, the text is the history of the most spread of power carrier, the Han dynasty, the image transmission power greatly increased. Temples, temple room, "blocking", "Yong", "wall" and the origin of the wall mural has become a more social impact of the "media", it contains the history of painting functions stand out. Portraits as a supplementary means of political indoctrination in the form of emperors attached great importance to have spread disorder in Rise and Fall, Chi Gong, Chung Tak, the role of Senior table row, is the recognition of filial piety, power tools Zonta century, but also "state "The political public institution and cultural heritage.
Third, the Han Dynasty history of portrait painting set includes the following three aspects: the origin country album
Country album Han, Han imaginary portrait painting.
Fourth, the study of Han this meaningful "History contains" portrait paintings, portraits help us learn more about the development of the Han Dynasty and the development of the characteristics of the origin, to understand "national album," This particular portrait in the history of the Han Dynasty that particular to develop under the conditions of the reasons discussed more from a social and political change, the development of social thought the impact of historical portraits, and historical development from which you can find subtle traces.
The inadequacies of the paper, because of data limitations and the author's own research capacity constraints, the existence of such papers as the inevitable problems. This paper has two major shortcomings: first, due to data limitations, this paper to the Han Dynasty portrait painting as a research topic, but not for the whole of the Cultural Significance of portrait painting, style, and morphology significance of the problem depth study. Second, the failure to put forward in contemporary social thought, culture, emotions, living conditions, and values under the influence of factors such as the analysis of portrait painting.
汉代肖像绘画以其形象之图绘兼任“记传”与“赋颂”,并以“载其容”而兼“叙其事”、“备其象”而兼“咏其美”的功能。形成了一种极具象征意味的“国家画册”形式。研究汉代这种意味深长的“史载”肖像绘画,有助于我们进一步了解肖像画发展的源流,尤其是肖像画在汉代这种特定的历史条件下得以发展的原因,更能从中探讨出社会政治变迁、社会思潮对于历史肖像画发展的影响。
The first chapter is an introduction section. The background of the main topics of the paper, theoretical and practical significance, research status and research method and structure of a simple introduction.
The second chapter is brought against the state and development of the theory album. On the emergence and development of the national album a brief exposition of the concepts and puts forward the concept and basic characteristics of the State album, and then the formation and development of the country album to sort out the relevant theory, followed by analysis with the Qin ancestor worship, "as set. " The purpose of this chapter, this research leads to national theme albums, as contained in later chapters of the history of the Han Dynasty portrait painting and evolution mechanisms of formation and development of a solid theoretical foundation to prepare, to build a framework of rigorous logical analysis of norms.
State Chapter of the Han Dynasty album. This chapter focuses From "History contained" in the perspective of the Han Dynasty Han Dynasty portrait painting country albums comprehensive analysis of the system, summarized the historical and cultural environment in the country album of the main features of the Han Dynasty and Developing, Changes in the history and reality to grasp the The general rule of contemporary country album, set for further study of the history of the Han Dynasty to provide heavy historical portrait painting material.
Chapter IV of the Han Dynasty portrait painting imagined. Previous paper, the development of the Han Dynasty country album sort out the basis of historical context, this chapter first analyzes traditional Chinese painting, portrait paintings presented the art of the Han Dynasty and the essence of the spirit, "like" and narrative portrait of the two main issues, the final Ancient Chinese portrait painting with the trend of development, discussed the problem of the Han Dynasty to portrait painting.
Chapter Five is the conclusion. The main conclusions of the paper and inspiration, innovation and deficiencies are analyzed and discussed.
The main point is as follows:
First, the so-called national album, the Southern National Palace Museum collection the smoke house of a large number of "history as the Empress Xian Chen" to describe the images on the Fu Xi, Emperor Yao, Yu, Shang Tang and King Wu of Zhou five monarch, the next, and Tang, Song, Yuan, Ming Di, after, and like other ancient Xian Chen. Smoked Hall was built during the Southern National Palace Museum, located outside the North West, Wu Yingdian southwest. Canonization ceremony of the Ming Dynasty in the book when writing the official seal Campbell, gold book a place. South Hall of the image after smoked Song, Yuan, Ming and three generations of accumulation, where the volume, volume, axes of a hundred pieces, images of more than five hundred and eighty frames. Those from the "national" collection of portraits, after the Song, Yuan, Ming and Qing. Empress Song of God as the original, mostly around the Royal Palace, the day before Qin Zhang Xiao Si Temple Pavilion and the Shrine, after worship in the temples and the landscape within a spiritual house; the Yuan Dynasty in the royal family have a special dedicated temples dedicated to emperors attached to Royal Yung God Goten. From the ancient royal house of God, the original temple, is placed first move toward the emperor, "Royal God" that is, Yu Yung, tablets and regular place of worship. Since the start of construction during the Northern Song Dynasty, the God father Seonjo Goten to Shinshu toward God Goten has been distributed in the country, the ritual system also begins to form. Store in the Ming Dynasty was the palace of the ancient library through membership, by the supervisor in charge of printed ribbon. Chong placed on three years of Mandarin, Wu ounce Hall; Qianlong be re-placed when the house south smoked, it is traditionally known as the South Hall of the image smoked. These portraits, history has custody of specialized national institutions, most of them from the hands of court painter. Most portrait name shall not fall, the authors who is difficult to trace. Qianlong "Bong imperial possession of the South Hall of the image in mind smoked" lying stone tablet records the text hidden inside the hall from Taihao, Fuxi the following, a total of 121 copies of Emperor Wang Xianchen portrait, painted portrait the size of a total of 583. The article also referred to its instructions from the house smoked, southern Tibet images intended "to show the emperor system each other, said pulse Sri Lanka in" Wang Fu-chih said: "emperor of the place, is that the governance system; sages taught also, is that Orthodoxy" Such is the function of the national album reflects the weathering of Confucian ethics governing education, portraiture as a supplementary means of political indoctrination in the form of emperors attached great importance, "into enlightenment, helping London", has
spread disorder in Rise and Fall of portraits, Ji Gong , Chung Tak, the role of Senior table row, is the recognition of filial piety, power tools Zonta century, but also "national" political public institution and cultural heritage.
Second, before the Han Dynasty, the text is the history of the most spread of power carrier, the Han dynasty, the image transmission power greatly increased. Temples, temple room, "blocking", "Yong", "wall" and the origin of the wall mural has become a more social impact of the "media", it contains the history of painting functions stand out. Portraits as a supplementary means of political indoctrination in the form of emperors attached great importance to have spread disorder in Rise and Fall, Chi Gong, Chung Tak, the role of Senior table row, is the recognition of filial piety, power tools Zonta century, but also "state "The political public institution and cultural heritage.
Third, the Han Dynasty history of portrait painting set includes the following three aspects: the origin country album
Country album Han, Han imaginary portrait painting.
Fourth, the study of Han this meaningful "History contains" portrait paintings, portraits help us learn more about the development of the Han Dynasty and the development of the characteristics of the origin, to understand "national album," This particular portrait in the history of the Han Dynasty that particular to develop under the conditions of the reasons discussed more from a social and political change, the development of social thought the impact of historical portraits, and historical development from which you can find subtle traces.
The inadequacies of the paper, because of data limitations and the author's own research capacity constraints, the existence of such papers as the inevitable problems. This paper has two major shortcomings: first, due to data limitations, this paper to the Han Dynasty portrait painting as a research topic, but not for the whole of the Cultural Significance of portrait painting, style, and morphology significance of the problem depth study. Second, the failure to put forward in contemporary social thought, culture, emotions, living conditions, and values under the influence of factors such as the analysis of portrait painting.
引文
[1]汤炳正等:《楚辞今注》第229页,上海古籍出版社,1996年。
[2]蒋骥《山带阁注楚辞》162页上海古籍出版社1984
[3]武汉大学简帛研究中心编《简帛》第三辑,上海古籍出版社,2008年11月
[1](姜亮夫:《楚辞通故》第三辑,第477页,济南:齐鲁书社,1985年)
楚辞补注洪兴祖中华书局1983：3
说文许慎.中国书店1989：1
《魏鹤山渠阳杂抄》容庚中华书局1985：7
金文编黄灵庚中华书局2007-09
楚辞章句疏证顾炎武、陈垣安徽大学出版社2007-08
日知录校注杨伯峻中华书局2008-12
孟子译著汤炳正等上海古籍出版社1996年
《楚辞今注》蒋骥上海古籍出版1984
《山带阁注楚辞》刘信芳上海古籍出版社2008：11
《楚辞集注》武汉大学简帛研究上海古籍出版社2007-04
中心中华书局1988-12
周礼译注(十三经译杨天宇撰上海古籍2004-01注)杜佑岳麓书社2006-11
通典胡奇光、方环海中华书局1986-02
尔雅译注(十三经译郑玄注吉林出版集团2005-05注)方玉润上海古籍出版社2007-12
周礼·仪礼·礼记范宁等中华书局2008-06
诗经原始孔安国齐鲁书社1985
春秋谷梁传注疏刘熙、王先谦中华书局2001-01
尚书正义姜亮夫中华书局2008-12
释名疏证补孙诒让上海古籍出版社2009-04
《楚辞通故》王弼、楼宇烈广西师范大学出
墨子閒詁 (宋)邢昺、李隆基、版社
老子道德经注校释邢昺、金良年
孝经注疏朱熹1998-05
王德明上海古籍出版社1998-03
《家礼》上海师范大学古籍
孔子家语译注整理研究所2005-01
国语金景芳、吕绍纲上海古籍出版社1983-03
王聘珍中华书局2009-09
周易全解(修订本)许维遹中华书局2005-08
大戴礼记解诂司马迁上海古籍1958-09
吕氏春秋集释(上下)刘勰人民文学出版社2003-01
史记章太炎上海古籍出版社2009-08
文心雕龙注《韩非子》校注组凤凰出版社2007-03
国故论衡曹础基中华书局1995-11
韓非子校注(修订本)郑樵中华书局2007-08
庄子浅注(修订重排班固撰中华书局
本)张彦远、周晓薇、郭辽宁万有图书发2001-02
通志二十略若虚、王其祎行有限公司2007-12
汉书胡平生、陈美兰中华书局1992-12
历代名画记:图画见苏兴编中华书局1994-08
闻志吴则虞、陈立中华书局2002-11
林忠军齐鲁书社
礼记孝经2008-05
春秋繁露义证郑午昌上海古籍出版社2006-01
白虎通疏证葛洪三秦出版社2004-01
《易纬》导读张彦远、范祥雍人民美术出版社1965-05
《文潞公家庙碑》范晔中华书局2000-05
中国画学全史李渔、江巨荣、卢寿上海古籍出版社1988-02
西京杂记荣上海古籍出版社2009-04
历代名画记许慎、段玉裁中华书局2004-04
后汉书刘向、向宗鲁中华书局2006-04
闲情偶寄王念孙、钟字讯岳麓书社2009-10
说文解字注荀况、张觉中华书局2005-06
说苑校证杨伯峻中华书局2006-11
广雅疏证何清谷岳麓书社2000-07
荀子校注王充中华书局2007-04
春秋左传注(修订本)贾谊撰、阎振益吉林文史
三辅黄图校释陈宏天、赵福海、陈2009-05
论衡复兴中华书局1973-08
新书校注司马贞中华书局2008-12
昭明文选译注梁启超上海古籍出版社1995-05
《史记索隐》魏徵上海古籍出版社1980-09
中国历史研究法刘知幾、浦起龙、吕中华书局
隋书思勉
史通欧阳询
艺文类聚阮元
十三经注疏
魏鹤山渠阳杂抄曹植
求自试表东方朔
答客难陆机
长歌行
[2]蒋骥《山带阁注楚辞》162页上海古籍出版社1984
[3]武汉大学简帛研究中心编《简帛》第三辑,上海古籍出版社,2008年11月
[1](姜亮夫:《楚辞通故》第三辑,第477页,济南:齐鲁书社,1985年)
楚辞补注洪兴祖中华书局1983：3
说文许慎.中国书店1989：1
《魏鹤山渠阳杂抄》容庚中华书局1985：7
金文编黄灵庚中华书局2007-09
楚辞章句疏证顾炎武、陈垣安徽大学出版社2007-08
日知录校注杨伯峻中华书局2008-12
孟子译著汤炳正等上海古籍出版社1996年
《楚辞今注》蒋骥上海古籍出版1984
《山带阁注楚辞》刘信芳上海古籍出版社2008：11
《楚辞集注》武汉大学简帛研究上海古籍出版社2007-04
中心中华书局1988-12
周礼译注(十三经译杨天宇撰上海古籍2004-01注)杜佑岳麓书社2006-11
通典胡奇光、方环海中华书局1986-02
尔雅译注(十三经译郑玄注吉林出版集团2005-05注)方玉润上海古籍出版社2007-12
周礼·仪礼·礼记范宁等中华书局2008-06
诗经原始孔安国齐鲁书社1985
春秋谷梁传注疏刘熙、王先谦中华书局2001-01
尚书正义姜亮夫中华书局2008-12
释名疏证补孙诒让上海古籍出版社2009-04
《楚辞通故》王弼、楼宇烈广西师范大学出
墨子閒詁 (宋)邢昺、李隆基、版社
老子道德经注校释邢昺、金良年
孝经注疏朱熹1998-05
王德明上海古籍出版社1998-03
《家礼》上海师范大学古籍
孔子家语译注整理研究所2005-01
国语金景芳、吕绍纲上海古籍出版社1983-03
王聘珍中华书局2009-09
周易全解(修订本)许维遹中华书局2005-08
大戴礼记解诂司马迁上海古籍1958-09
吕氏春秋集释(上下)刘勰人民文学出版社2003-01
史记章太炎上海古籍出版社2009-08
文心雕龙注《韩非子》校注组凤凰出版社2007-03
国故论衡曹础基中华书局1995-11
韓非子校注(修订本)郑樵中华书局2007-08
庄子浅注(修订重排班固撰中华书局
本)张彦远、周晓薇、郭辽宁万有图书发2001-02
通志二十略若虚、王其祎行有限公司2007-12
汉书胡平生、陈美兰中华书局1992-12
历代名画记:图画见苏兴编中华书局1994-08
闻志吴则虞、陈立中华书局2002-11
林忠军齐鲁书社
礼记孝经2008-05
春秋繁露义证郑午昌上海古籍出版社2006-01
白虎通疏证葛洪三秦出版社2004-01
《易纬》导读张彦远、范祥雍人民美术出版社1965-05
《文潞公家庙碑》范晔中华书局2000-05
中国画学全史李渔、江巨荣、卢寿上海古籍出版社1988-02
西京杂记荣上海古籍出版社2009-04
历代名画记许慎、段玉裁中华书局2004-04
后汉书刘向、向宗鲁中华书局2006-04
闲情偶寄王念孙、钟字讯岳麓书社2009-10
说文解字注荀况、张觉中华书局2005-06
说苑校证杨伯峻中华书局2006-11
广雅疏证何清谷岳麓书社2000-07
荀子校注王充中华书局2007-04
春秋左传注(修订本)贾谊撰、阎振益吉林文史
三辅黄图校释陈宏天、赵福海、陈2009-05
论衡复兴中华书局1973-08
新书校注司马贞中华书局2008-12
昭明文选译注梁启超上海古籍出版社1995-05
《史记索隐》魏徵上海古籍出版社1980-09
中国历史研究法刘知幾、浦起龙、吕中华书局
隋书思勉
史通欧阳询
艺文类聚阮元
十三经注疏
魏鹤山渠阳杂抄曹植
求自试表东方朔
答客难陆机
长歌行