【摘要】：張彥遠(yuǎn)說，繪畫具有“成教化，助人倫”的功用，并且“與六籍同功”�！翱鬃悠呤茏酉瘛痹趦汕甑臍v史長河中也一直發(fā)揮著輔助教化的作用。它的創(chuàng)始和發(fā)展與儒家思想的政治地位密切相關(guān)，見證了各個時期儒家思想的興盛與沒落。研究“孔子七十二弟子像”的興衰歷史可以了解中國古代教育的端倪，從而有助于我們重新認(rèn)識儒家核心思想的文化價值。 “孔子七十二弟子像”產(chǎn)生于漢代，從現(xiàn)存的畫像石作品可以看出，其人物多是古拙的剪影式形象。唐代，隨著孔廟在全國的興盛，“孔子七十二弟子像”的繪制已經(jīng)廣泛開來，從首都國子監(jiān)，一直到偏僻的邊境都有其蹤跡。傳為閻立本的“孔子七十二弟子像”雖暫定為北宋摹本，亦隱約得見唐代對此題材地創(chuàng)作已進(jìn)入了比較高的水平，人物數(shù)量確定為包括孔子在內(nèi)共七十三人，衣制古樸，形象生動傳神。宋代是模仿與創(chuàng)作的高峰，在繼承前代流傳人物基本形態(tài)的基礎(chǔ)上，加入了新的理解，采用了新的繪畫技法。尤其南宋杭州府學(xué)的石刻對明清兩代產(chǎn)生了最直接的影響。明世宗開始，孔廟內(nèi)以神位代像。之后民間流傳的多個版本的“孔子七十二弟子像”皆出自對杭州府學(xué)石刻的摹寫。 “孔子七十二弟子像”之存世作品為數(shù)不多，考其藝術(shù)價值與歷史價值相對較高的當(dāng)是“故宮藏本”和“首博藏本”。通過詳細(xì)對照，這兩件作品系出于相同或相似的樣本，技法不同，但形象鮮活脫俗，其歷代之畫跋也有重要的史料價值。筆者結(jié)合《論語》等文獻(xiàn)對“孔門十哲”形象進(jìn)行了詳細(xì)地解讀，并對比了畫像形象與文獻(xiàn)形象的相同與差異，進(jìn)而闡釋文獻(xiàn)依據(jù)與藝術(shù)創(chuàng)作的關(guān)系。通過這樣一種言、像合一地分析，，更加全面、飽滿地展現(xiàn)出孔子賢弟子的人格精神。發(fā)揚(yáng)圣賢的寶貴精神對解決當(dāng)下社會的種種問題有著積極地意義。
[Abstract]:Zhang Yanyuan said that painting has the function of "becoming civilized, helping others" and "sharing the same merit with the six nationalities." Confucius 72 disciple Xiang has also played an auxiliary role in the history of 2000. Its founding and development are closely related to the political status of Confucianism and witnessed the rise and fall of Confucianism in various periods. The study of the rise and fall of Confucius 72 disciple's image can help us to understand the cultural value of the core thought of Confucianism. The figure of Confucius 72 disciple originated in Han Dynasty, and its characters are mostly silhouette images of ancient times. In the Tang Dynasty, with the prosperity of Confucius Temple in the whole country, the drawing of "Confucius 72 disciple's Image" has been widely spread, from the capital Guozi Jian to the remote border. Although the portrait of Confucius 72 disciples passed down to Yan Liben was tentatively a copy of the Northern Song Dynasty, it was also vaguely seen that the Tang Dynasty had entered a relatively high level in the creation of the subject matter. The number of characters was determined to be 73 people, including Confucius, with a simple clothing system. The image is vivid and vivid. Song Dynasty is the peak of imitation and creation. On the basis of inheriting the basic form of the characters passed down in the previous generation, a new understanding was added and new painting techniques were adopted. In particular, the stone carvings of the Southern Song Dynasty and Hangzhou School had the most direct influence on the Ming and Qing dynasties. From the beginning of the Ming Dynasty, the Confucius Temple was replaced by the throne of God. Since then, various versions of Confucius 72 disciple's statues have been copied from the stone carvings of Hangzhou Fuxue. There are few works in existence of Confucius 72 disciple's figure. The relatively high artistic value and historical value are The Imperial Palace Collection and Shoubo Collection. Through detailed comparison, the two works are out of the same or similar samples, different techniques, but the image is fresh and free from vulgarity, and the postscript of the past dynasties also has important historical value. Based on the Analects of Analects and other documents, the author makes a detailed interpretation of the image of "Kong Men and Ten philosophers", and compares the same and difference between the portrait image and the document image, and then explains the relationship between the literature basis and artistic creation. Through such a kind of words, like the analysis of unity, more comprehensive, full display of the personality spirit of Confucius's sages and disciples. Carrying forward the valuable spirit of sages is of positive significance to solving all kinds of problems in society.
【學(xué)位授予單位】：西安美術(shù)學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J209.2

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