本文選題：趙孟堅 + 水仙卷　； 參考：《南京大學(xué)》2014年碩士論文

【摘要】：水仙是趙孟堅的主要繪畫題材,水仙卷更是他的代表作,在中國繪畫史上具有重要地位,然而通過對現(xiàn)存趙孟堅名下的諸本水仙卷進行考辨之后,我們發(fā)現(xiàn)各卷本之間具有共同的表達程式,呈現(xiàn)出一種獨特的譜系關(guān)系,且水仙卷真?zhèn)晤H有存疑。所以水仙卷的作為趙孟堅的個人“符號”其確立的過程是不以畫作的真?zhèn)螢橐罁?jù)的。從這一奇異的現(xiàn)象出發(fā),我們不禁追問：水仙卷何以越過真?zhèn)味蔀橼w孟堅的人格標志?針對這一問題,本文試圖通過四個章節(jié)詳細加以說明,水仙卷是如何獲得它的諸種意象,并對照相關(guān)文獻資料闡釋其意象與史實的偏離的原因。第一章,總述概括趙孟堅的藝術(shù)風(fēng)貌,分兩節(jié)論述他“清而不凡、秀而淡雅”的畫風(fēng)以及不拘一家之法而萬法皆歸于“正”的儒家美學(xué)觀,為趙孟堅水仙卷的意象研究提供理論前提。第二章,從宋代水仙花的文學(xué)意象出發(fā),結(jié)合時代變遷的歷史背景與趙孟堅的宗室身份,分析水仙卷在歷代流傳過程中的呈現(xiàn)出的意象嬗變,凸顯士大夫以文學(xué)典故中“洛神”、“湘妃”等愛情憾事隱喻家國興亡的遺民思想。第三章,對現(xiàn)存趙孟堅名下的諸本水仙卷進行圖像程式上的譜系梳理,考證各卷本之間的圖像關(guān)系,同時整理出歷代趙孟堅水仙卷的臨仿本,然而分析比較的結(jié)果并不以斷定真?zhèn)螢樽罱K目的,而是揭示出這樣一個悖論：真跡或許久已不傳,但歷代士大夫借以抒法故園情懷的詩詞題詠和相關(guān)著述卻使水仙卷意象得到長久地維持,趙孟堅水仙卷體現(xiàn)出的人格符號是架構(gòu)在不辨真?zhèn)蔚目赵O(shè)之上的。第四章,揭示水仙卷意象不受真?zhèn)螞Q定的文化原因,從書畫著錄和人物品鑒中的“歷史陳述”、趙孟堅《彝齋文編》中的“自我陳述”以及后世考辨的“事實陳述”三個方面分析,通過相互對照,展現(xiàn)趙孟堅人物性格的真實性與復(fù)雜性,也揭示出水仙卷人格意象與史實的偏離,這種偏離是士大夫依據(jù)儒家美學(xué)價值觀對歷史著述進行選擇性重構(gòu)造成的,這顯然與解讀水仙卷傳統(tǒng)意象有所不同,值得學(xué)界進一步探討。
[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.
【學(xué)位授予單位】：南京大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J212

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