【作者】 邵彦；

【导师】 薛永年；

【作者基本信息】 中央美术学院 ， 美术学， 2004， 博士

【摘要】 本文重新梳理了现存有关《文姬归汉》的图像系统：基于刘商诗的图像系统和基于蔡琰诗的图像系统。前者又分为两个组团。对前一组团，本文清理与修正了几个宋本和早期摹本的断代与相互关系，并分析了此图的创稿时机、该主题的意识形态含义，以及该图本系统流传过程中产生的一些问题。对后一组团，本文对过去视为美术史“废料”的晚期摹本也作了较深入的研究，把“苏州片”这样的晚期摹本视作图像传递变异过程以及故事向社会各阶层广泛传播的一个中继站。 基于蔡琰诗的图像系统作品在本文得到了重新断代与文化释读。 对图像系统的梳理与文图关系的初步认读表明现存“文姬归汉”长卷画作品群体中存在双文本系统与双图像系统复杂绞合的情况。 基于文姬归汉这一题材跨越文学史、音乐史、美术史、戏剧史的特点，本文对美术史以外的史料给予充分的重视和运用，进入文献系统，在文本与作品的相互观照中，釐清几个事实：从蔡琰到蔡文姬，是一个历史原型被不断改造与积累的过程；对于蔡文姬形象的相对固定，以及刘商诗被选择作为绘画文本，音乐史的影响不可忽视；但再追究文化心理的深层原因，是刘诗中改造了蔡琰的形象和心态，使之符合理学上升时期知识分子对女性的角色期许，甚至暗合知识分子对自身的人格期许。 这个案例还表明了画家作为一个群体在文化史中扮演的角色。他们受到文本与官方指令之外的种种可见与不可见的影响，主动参与故事情节的丰富与细节的改造，乃至更改了故事的情绪基调、主题意图，反过来又影响了以后的文本发展。这有助于全面认识中国绘画史上的文图关系。更多还原

【Abstract】 Cai Wen-chi’s captivity in Xiongnu and her returning to Han Empire is one of the most famous narrative motives in Chinese art history: literature, music, painting and drama. This essay is a new survey and a visual and cultural explain of long scrolls on this motif. It reviews and re-authenticates most of the currently known versions, cleans up their relationship.The most important image system is 9 versions on Liu Shang’s cycle. This essay divides them into 2 groups. On the first group many issues on Southern Song Paintings are discussed, especially the creating of the original painting: when and why it was created. On the second group I focus on the issue on "Suzhou Pian", a forgery producing system in Ming and Qing Dynasties. By this research I found some new information on it.Another image system different from Liu Shang’s 9 versions is two versions on a cycle traditional attributed to Cai Wen-chi herself. This essay cleans up and re-authenticates them and put them on the background of Ming Dynasty musical culture.Then I return to historical, literary and musical documents to review this motif and the paintings. I find a continuous process of reconstruction and accumulation: from the antetype Cai Yan to dramatic Cai Wen-chi, from historians’ description to Liu Shang’s cycle, from this cycle to the original long scroll painting, form the original Southern Song paintings to late Ming and Qing copies. From this case we find the original painting is created in the stylistic and social circumstance in the beginning of 13 century, and artists played an active role in this process.更多还原