| 摘要: | 明清易代之後，忠於明朝的遺民者，時常透過詩文書畫寫其襟曲；而明遺民畫家筆下之人物畫，同樣展現出此種功用與寓意。遺民者時常選擇具有忠臣形象，抑或蘊含隱逸身分的歷史人物，將其視為隱喻符碼，以此做為自我表徵的一個介面。除了歷史人物，與明遺民同時代者，如秦淮八豔之名妓，同樣為遺民所用，成為書寫、感懷故國之媒介。
本論文以諸葛亮、陶潛與名妓寇湄三個圖像符碼為研究中心，並聚焦於陳洪綬《出處圖》、張風二亮圖像以及樊圻、吳宏《寇白門像》等畫作文本上，以此討論明遺民畫家如何透過這三個符碼，圖寫明遺民身分認同的問題。此外並藉以探析同樣身為明遺民畫家，對於相同的圖像符碼，卻能有著不同之論述，甚至體現出多樣的身分認同。
除以緒論、結論外，本論文分三章論述。第一章以陳洪綬《出處圖》為中心，討論陳洪綬如何透過《出處圖》展現對二亮身分認同的問題。陳洪綬於《出處圖》中，認同陶淵明的隱士身分，而在此畫中，則將諸葛亮視為異於己身的為官者身分，刻意忽略諸葛亮的忠士形象。第二章以張風相關二亮圖像為主軸，並以陳氏《出處圖》做對照，可知張風筆下的諸葛亮圖像，巧妙結合儒道仙三者。而這樣的創作模式，更可與張風自身身分相呼應，反映了張風忠於明朝的遺民身分，以及本身道教信仰與隱居不出的隱士身分。另外陶淵明圖像，則明顯採取陶元亮的隱士身分，認同陶氏作為是個高風亮節隱者的象徵符碼。第三章詮解樊、吳《寇白門像》中，對名妓寇湄身分主體之認同。寇湄本身擁有俠骨傲氣的性格，甚至注重自身的貞節情操，因此種性格特質，為明遺民所重，甚至是他們用以認同、界定自我的重要特質。故樊、吳二人筆下的《寇白門像》，不僅是表達遺民情懷之載體，甚至是透過畫中寇湄來訴說自身身分所欲追求的態度與性格，認同畫中名妓的主體身分，也以她來肯定、期許自我的遺民身分。; After the transitional period of Ming and Qing dynasty, the Ming loyalists usually expressed their private thoughts by poetry, writing, calligraphy and paintings. Their figure paintings also show the same effect. The loyalists often chose courtiers of such loyalty and responsibility, or historical figures who were hermits. These figures were regarded as a symbol of metaphor, and the loyalists used them to be a form of self-representation. Besides the meaningful characters of history, courtesans of Qinhuai Ba Yan, who were contemporary with Ming loyalists, were also used by them, and they became a medium for recalling the late Ming.
The core of this thesis is composed of three symbols, Zhuge Liang, Tao Qian and the famous courtesan Kou Mei, and focus on the paintings as follows: Chen Hongshou's Zhuge Liang versus Tao Qian, Zhang Feng's paintings about two Liang and Fan Qi, Wu Hong's Kou Mei. Following the mentioned paintings, the thesis is going to discuss how Ming loyalists painted about the issues of identification through those three symbols. In addition, the thesis is going to discuss how Ming loyalists, while using the same symbols, generated different discourse and reflected diverse self-identification.
The thesis is divided into three chapters, excluding preface and conclusion. The core of the first chapter is Chen Hongshou's Zhuge Liang versus Tao Qian, to discuss how Chen demonstrated the identification issues of two Liang. In Zhuge Liang versus Tao Qian, Chen identified the hermitic status of Tao and regarded Zhuge as official, which was different from himself, and intentionally ignored the loyal image of Zhuge. Zhang Feng's paintings about two Liang was the main of the second chapter. By comparing to Zhuge Liang versus Tao Qian, we know that the image of Zhuge Liang painted by Zhang Feng cleverly combined Confucianism, Taoism and Immortal. This kind of creational pattern echoed the identification of Zhang Feng himself; it reflected the loyalty of Zhang as Ming loyalist, his religion belief in Taoism and the hermitic status he chose. As for the image of Tao, it was clear that he chose the hermit image of Tao and regarded Tao as the symbolic sign of hermit of high morals. The third chapter focuses on the interpretation of the self-identification of the famous courtesan Kou Mei in Kou Mei by Fan and Wu. Kou Mei possessed chivalrous and moral personality; she even paid attention to chastity and purity. Therefore, this kind of personality was valued by Ming loyalists, and even became the crucial trait for them to identify and define themselves. The work by Fan and Wu was the carrier of loyalists' feelings, and the attitude of Kuo Mei in the painting was also a trait that the artists expected to follow. By indentifying the status of the courtesan in the painting, Fan and Wu also indentified that of Ming loyalists themselves. |
