是谁绘事出寻常——以北京画院藏《三阳开泰图》为中心

Study on the Painting “Three Goats” Collected in Beijing Fine Art Academy

本文以北京画院藏《三阳开泰图》为中心,搜集古代绘画作品中具有骑羊童子图像的画作18幅,通过对"三阳开泰"与"九阳消寒"寓意物化为宫廷图像传达方式的分析,结合11幅骑羊童子画像进行比对,试图厘清冬至与立春不同节令所绘图像的具体意涵,继而将画作中具有鲜明时代特征的图像标志或器物特征、服饰纹样等纳入历史发展范畴,确定此类画作的绘制时间。其中结合元明杂剧文本《脉望馆钞校本古今杂剧》中的相关信息,力图更加明晰骑羊童子形象的来源应当与宫廷戏曲相关。通过上述研究,初步推断北京画院藏《三阳开泰图》的绘制时段为清代末年。文章结尾将"三阳开泰"图像研究与文本分析延伸至民国时期,以突出古代历史画作中"三阳"与"九阳"的特殊意义所在。

Based on the painting ＂Three Goats＂ collected in Beijing Fine Art Academy, this paper studies eighteen similar ancient Chinese paintings with the image of a boy riding a goat. The author analyzes the objectification of ＂san yang kai tai＂[三阳开泰]（three yangs bring bliss） and ＂jiu yang xiao han＂[九阳消寒]（ nine yangs extinguish cold） into goat images in court paintings. Through the comparison of eleven paintings of ＂A Boy Riding a Goat＂ the author tries to identify the connotations of the images created in different seasons. Then the author determines the date of the paintings according to the symbols, objects and patterns on clothes in them which present distinct characteristics of a time. With reference to the Yuan and the Ming dramas recorded in Mai Wang Guan Chao liao Ben Gu Jin Za Ju [脉望馆钞校本古今杂剧], the author indicates that the derivation of the image of a boy riding a goat was related to court opera and the painting ＂San Yang Kai Tai （Three Goats）＂collected in Beijing Fine Art Academy was made in the late Qing dynasty. In the end, she explores the application of the image ＂san yang kai tai＂ in the Republic of China period and emphasizes the significant role that ＂san yang＂ and ＂jiu yang＂ have played in ancient Chinese paintings.