本文選題：三陽開泰 + 九陽消寒　； 參考：《中國國家博物館館刊》2017年09期

【摘要】：本文以北京畫院藏《三陽開泰圖》為中心,搜集古代繪畫作品中具有騎羊童子圖像的畫作18幅,通過對"三陽開泰"與"九陽消寒"寓意物化為宮廷圖像傳達方式的分析,結(jié)合11幅騎羊童子畫像進行比對,試圖厘清冬至與立春不同節(jié)令所繪圖像的具體意涵,繼而將畫作中具有鮮明時代特征的圖像標志或器物特征、服飾紋樣等納入歷史發(fā)展范疇,確定此類畫作的繪制時間。其中結(jié)合元明雜劇文本《脈望館鈔校本古今雜劇》中的相關(guān)信息,力圖更加明晰騎羊童子形象的來源應當與宮廷戲曲相關(guān)。通過上述研究,初步推斷北京畫院藏《三陽開泰圖》的繪制時段為清代末年。文章結(jié)尾將"三陽開泰"圖像研究與文本分析延伸至民國時期,以突出古代歷史畫作中"三陽"與"九陽"的特殊意義所在。
[Abstract]:Based on the collection of "Sanyang Kaitai Pictures" by the Beijing Academy of painting, this paper collects 18 paintings with the image of a boy riding a sheep in ancient paintings, and through the analysis of the implication of "Sanyang Kaitai" and "Jiuyang dispelling the Cold" as the conveyance mode of the palace image, Based on the comparison of 11 portraits of the boy riding sheep, this paper tries to clarify the specific meaning of the images drawn by the Winter Solstice and the Beginning of Spring in different seasons, and then brings into the historical development category the image signs or utensils and clothing patterns that have distinctive characteristics of the times in the paintings. Determine the time to draw such a painting. In combination with the relevant information in Yuan and Ming Dynasty Zaju text "Mai Wang Guan banknote School-based Zaju Drama", the author tries to make it clear that the origin of the image of the boy riding sheep should be related to court opera. Based on the above research, it is preliminarily inferred that the drawing period of Sanyang Kaitai Picture in Beijing painting Institute is the last year of Qing Dynasty. At the end of the article, the image research and text analysis of "Sanyang Kaitai" are extended to the period of the Republic of China, in order to highlight the special significance of "San Yang" and "Jiuyang" in ancient historical paintings.
【作者單位】： 北京畫院理論研究部;
【分類號】：K879.4
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本文編號：1882293