黄增《退食寻乐图》考论  

A Study on Huang Zeng's Painting“Tuishi Xunle Tu”

作　　者：朱万章 Zhu Wanzhang

机构地区：[1]中国国家博物馆,北京100006

出　　处：《文博学刊》2023年第1期92-101,共10页Journal of Archaeology and Museology

摘　　要：清代宫廷画家黄增为荆如棠所绘《退食寻乐图》是肖像画中“行乐图”的一种特有模式,反映的是像主理想中退食后的生活状态。在此类画中,时人的诸多题跋确立了以像主为中心的朋友圈及以画名为主题的话语中心,不仅留下了像主之形象,更为研究像主与时人之交游、行迹及政治与文化语境提供了第一手资料,乃一时风尚之所在。“退食”是画史中罕有的画题,为我们呈现了一个传统士大夫由入世而出世且在人生旅程中最后阶段的生活状态,同时也为“行乐图”提供了另类的图绘范式。The painting“Tuishi xunle tu”(Painting on Withdrawing from the Officialdom and Seeking Pleasure)by the Qing dynasty court painter Huang Zeng,which was painted for Jing Rutang,is a unique mode of“Xingle tu”(Painting on Pleasure Seeking)in portrait painting,reflecting the ideal lifestyle of the portrait subject after quitting the officialdom.In this type of painting,the various inscriptions and postscripts of people at that time established a circle of friends with the subject as the center and a discourse centering around the theme of the painting title.It not only leaves the image of the portrait subject,but also provides first-hand information for studying the social network,activities and deeds of the portrait subject and people at that time,as well as the political and cultural context,which was the prevailing trend at that time.“Tuishi tu”(Painting on Withdrawing from the Officialdom)is a rare theme in the history of painting,which presents the life state of a traditional scholar-official who had moved from secular world to spiritual world in the final stage of his life journey.At the same time,it also provides an alternative drawing paradigm for“Xingle tu”.

关 键 词：黄增 退食图 荆如棠 行乐图 孔颜乐处 

分 类 号：J205[艺术—美术]