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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。
Guangdong giant room in the Qing Dynasty, Pan, Lu, Wu, Ye four is the most. “Toyama Yilu map” is a volume of custom, to Qing Dynasty thirteen firms Lu Wenjin brothers four people like the main Chinese figure painting. This article contrasts with Lu Wenjin’s portraits of oil painting, pointing out that the portraits in the portraits of oil paintings are closer to the real people, while the Lur brothers in “Toy Hill’s Yeleu” show people as Confucians practicing filial piety and invite local Prestigious gentry Postscript, praise. The customization of the character picture can be regarded as an attempt to rebuild the family image after the “Xiangye Temple Project” and to consolidate and establish the asylum relationship between the government and commerce. Through the detailed description of “Toyama Yile Tu” and its related inscriptions and postscripts, it reveals a hidden history like the main history and provides clues for understanding the nature and function of portrayal of portraits in the Qing Dynasty.