肖像•家族•認同：從禹之鼎＜白描王原祁像＞軸談起

＜白描王原祁像＞是禹之鼎創作僅見的白描肖像畫，所展現的是否不僅僅止於一般的肖像畫意義。通過研究發現，＜白描王原祁像＞在肖像畫的意義背後還隱藏著一種比較深沉的意涵，即由王錫爵直至王宸等王家數代人秉承與沿襲的家族傳統和一種代表家族意識與文化認同強烈而緊密的連結關係。筆者試圖以圖像對比來說明王原祁肖像的圖像淵源，並闡述其在家族文化歷史脈絡中的象徵意義。全文主要分四部分：一、＜白描王原祁像＞與＜王原祁藝菊圖＞分析＜白描王原祁像＞的風格，解說＜王原祁藝菊圖＞，說明兩者創作時間的關係。二、＜白描王原祁像＞與＜王時敏二十五小像＞、＜王錫爵像＞結合＜王時敏二十五小像＞、＜王錫爵像＞，分析＜白描王原祁像＞中人物造型淵源，討論王原祁畫像隱藏的家族文化內涵。三、＜白描王原祁像＞與＜王宸像＞由＜白描王原祁像＞出發，討論＜王宸像＞對家族先輩肖像樣式的繼承和繪製心理。四、肖像樣式與家族認同結合＜王時敏二十五小像＞、＜王原祁像＞與＜王宸像＞討論其內在的家族認同意識。

關鍵字

王原祁像；王原祁藝菊圖；王時敏二十五小像；王宸像；肖像；家族；認同

並列摘要

”The Portrait of Wang Yuanqi in Line Drawing” is the only portrait painting that Yu zhiding creates by line drawing. It presents the meanings beyond the normal one. By research, this painting implies the deep significance. It has the relationship with family tradition, family consciousness and cultural identity. This paper shows the origin of this portrait painting by contrast with paintings and describes its symbolic meaning in the historical vein of the family culture. This paper is consisted of four parts: 1. ”The Portrait of Wang Yuanqi in Line Drawing” and ”Chrysanthemum Appreciating of Wang Yuanqi”. It presents the relationship on the time of creation by analysis on the style of two paintings. 2. ”The Portrait of Wang Yuanqi in Line Drawing”, ”the Portrait of Wang Shiming at Twenty-five” and ”the Portrait of Wang Xijue”. It presents the meaning of family culture behind the portrait by analysis on the image origin of these paintings. 3. ”The Portrait of Wang Yuanqi in Line Drawing” and ”the Portrait of Wang Chen” It discusses the style inheritance of family portrait and the mind of painting. 4. the style of portrait and family identity It discusses the consciousness of the family identity by analysis on the paintings.

並列關鍵字

the portrait of Wang Yuanqi in line drawing ； chrysanthemum appreciating of Wang Yuanqi ； the portrait of Wang Shiming at twenty-five ； the portrait of Wang Chen ； portrait ； family ； identity