吾道一以贯之:马麟《道统五祖像》研究  

Painter Ma Lin’s ‘Full-Length Portraits of Five Moral Legends byConfucian Orthodoxy’ Considered

作　　者：宫力[1] Gong Li

机构地区：[1]上海理工大学出版印刷与艺术设计学院

出　　处：《故宫博物院院刊》2024年第1期89-103,168,共16页Palace Museum Journal

基　　金：教育部人文社会科学研究青年基金项目“五代、两宋馆藏绘画题跋释文与考订”(项目编号:19YJC760025)的阶段性研究成果。

摘　　要：《道统五祖像》是南宋画家马麟创作的一套上古道统人物全身组像中的五幅。本文以此件作品的乏考缘由、著录与递藏为切入点,探讨组像的特殊性,继而通过其与宋理宗《道统十三赞》碑文之间的关联,断定赞文创作于绍定三年,组像则是淳祐改元下赐国子监时所作。画中道统人物的选择遵循了朱熹所设谱系,反映了理宗对自身继位正统性的重申。此外,作者对画作的图文内容进行了溯源。This thesis focuses on the group painting of‘The Full-Length Portraits of Five Legends by Confucian Orthodoxy’(Dào Tǒng WǔZǔXiàng)attributed to Ma Lin of the Southern-Song dynasty in feature,theme and the creation date by the archival records and its history of circulation,coming to the judgement that the group painting was created in the 1st year of Chunyou period(1241)during which it was granted by the emperor to Guozijian of the imperial academy by its correlation with the stone-carved text of‘Thirteen Praises of the Confucian Orthodoxy’(Dào Tǒng ShíSān Zàn)’completed in the 3rd year of Shaoding(1230)of the Southern-Song dynasty.These figures as the representatives are in line with Zhu Xi’s lineage theory by Confucian Orthodoxy,whereby which Emperor Lizong(理宗)of the Song Dynasty reaffirms the legitimacy of his succession to the throne.The pictorial content is also discussed in the thesis.

关 键 词：南宋 道统五祖像 《道统十三赞》 宋理宗 

分 类 号：J212[艺术—美术]