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宋代人物画像颇为兴盛,存留的画像赞文献也十分丰富。在此氛围中,以朱熹为代表的南宋道学家自觉运用画像这一艺术形式,并且字斟句酌地撰写包括自赞在内的画像赞,他们反躬自问,深化自我认知,同时又通过彼此打量而加强对道学群体的整体认同感。更为重要的是,他们充分意识到配以画像赞的人物画像所具有的宣传感化作用,推而广之,使得儒家思想及道统传承观念借由艺术形式而深入人心。此外,以朱熹为代表的南宋道学家推崇的画像和所撰画像赞还体现了他们对道学谱系的思考,并展现了关于“圣贤气象”的范本。图像与思想史的关系,值得我们深入思考。
The portraits of the Song Dynasty flourished, and the portrait and portrait of the surviving portraits were also very rich. In this atmosphere, the Southern Song dynasty represented by Zhu Xi conscientiously used the portrait form as an art form, and wrote portraits like self-praise like self-praise, deepening self-awareness and at the same time playing through each other Strengthen the overall identity of Taoist groups. More importantly, they are fully aware of the role of propaganda in the portraits of portraits with portraits of praise, which have widened the concept of Confucianism and Taoism and inherited them through art forms. In addition, the portraits and writings and images praised by the South Song Taoists represented by Zhu Xi also reflected their thinking on the pedigree of Taoism and demonstrated the model of “the saint’s meteorology.” The relationship between images and the history of ideas deserves our deep consideration.