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本文以北京画院藏《三阳开泰图》为中心,搜集古代绘画作品中具有骑羊童子图像的画作18幅,通过对“三阳开泰”与“九阳消寒”寓意物化为宫廷图像传达方式的分析,结合11幅骑羊童子画像进行比对,试图厘清冬至与立春不同节令所绘图像的具体意涵,继而将画作中具有鲜明时代特征的图像标志或器物特征、服饰纹样等纳入历史发展范畴,确定此类画作的绘制时间。其中结合元明杂剧文本《脉望馆钞校本古今杂剧》中的相关信息,力图更加明晰骑羊童子形象的来源应当与宫廷戏曲相关。通过上述研究,初步推断北京画院藏《三阳开泰图》的绘制时段为清代末年。文章结尾将“三阳开泰”图像研究与文本分析延伸至民国时期,以突出古代历史画作中“三阳”与“九阳”的特殊意义所在。
This essay, based on the collection of “Sanyang Kaitai” in the Beijing Academy of Fine Arts, collects 18 paintings with images of riding a boy in the ancient paintings. Through the study of “Sanyang Kaitai” and “Jiuyang Destroys Cold” This paper tries to find out the concrete meaning of the images drawn by the different festivals in the winter solstice and the beginning of spring by combining the portraits of eleven riding goats with portraits, and then the image signs or artifacts with distinctive characteristics in the paintings, Clothing and other patterns into the history of the development category, determine the drawing time for such paintings. Combining with the relevant information in the Yuan Ming drama text “Qian Wang Guan Jin Gu Ben Jin Zaju”, trying to make it clearer that the origin of the image of riding a boy should be related to court drama. Through the above research, it is preliminarily inferred that the painting period of “Sanyang Kaitai” in the Beijing Academy of Fine Arts was the end of the Qing Dynasty. At the end of the article, the image research and text analysis of “Sanyangkaitai ” are extended to the period of the Republic of China to highlight the special significance of “Sanyang ” and “Nine Yang ” in ancient historical paintings.