形塑神聖：論溥心畬關公畫像中的圖與文

溥心畬（1896－1963）被譽為詩書畫三絕，歷來研究其相關議題的著述頗豐，但其頌讚圖像創作較少被關注。頌讚用詞典雅且簡明扼要，專用於人物的褒貶，不同於其他文體能適用於各類題材，與畫中人物有著更加密切的關係，再加上題寫的書法，匯集圖像、文學、書法於一體，三者之間相互輝映，成功形塑出各種不同的人物。本研究擬以溥心畬所繪兩幅〈漢關侯像〉與畫上兩段讚文為考察對象，畫中主角雖都是關公，但溥心畬所採用之呈現手法與圖像意涵，塑造出不同狀態的關公形像；並透過兩段讚文梳理溥心畬如何解讀關公的歷史背景與人格特質以及其個人看法，統整圖像、文學、書法三者關係，藉此為線索探討溥心畬受到家族與學習經歷影響的宗教觀、倫理價值觀。

關鍵字

溥心畬；關公；頌讚；圖像；儒家信仰

並列摘要

Pu Xinyu (1896-1963), has been hailed as the master for perfect poetry, calligraphy and painting. There had been abundant papers discussing Pu and his works over the years, but few discussed his Praising Paintings. Unlike other literary forms which can be applicable to all subjects, the writings on Praising Painting were mostly described as elegant, concise, and on point, focusing on appraising characters on paintings. Therefore, a close connection forms between the characters in the painting and the writings. Praising Painting shapes various types of characters successfully by combining images, literature and calligraphy together, creating harmonious relations within them. This dissertation discusses two ＂Guan Yu Figure＂ paintings by Pu, and the texts written on these paintings. Although both depicted the same character, Mr. Pu shaped different images of Guan Yu by using different techniques and placing distinct meanings behind each painting. The texts on the two paintings reflected the way Pu interpreted the historical background and the personality of Guan Yu, as well as his own opinions on this historical figure. The relation amongst painting, literature, and calligraphy are examined together in this dissertation, exploring how Pu's family and his past learning experiences influenced his religious views and ethical values.