论《张果见明皇图》中四位侍者的文化身份--基于着装外观和情境构建的侍者性别和职业身份综合分析

On the Cultural Identity of the Four Attendants in the painting Elder Zhang Guo Calling on Emperor Xuanzong:Comprehensive Analysis of Attendants’Gender and Professional Identity Based on Dress Appearance and Situation Construction

《张果见明皇图》是元代画家任仁发的重要作品,现有研究主要关注其图画风格、画面叙事和画外寓意等,对画面左侧四位男装打扮的人物(常被认为是宫宦侍从)则多有忽视。作者结合相关文献和盛唐时期女着男装的社会风尚,首先从人物服饰装扮的角度,通过与唐、元两代的相关画作人物进行多重比对,认证四位侍者为女性身份;然后结合人物所持器具,分析其职业身份;最后从情境构建的角度,讨论四位侍女在画面构图形式和主旨表达中的作用,进一步确认其文化身份。本文是结合服装史研究成果和服装社会心理学情境理论,进行美术史和文化史研究的一种尝试。

The painting Elder Zhang Guo Calling on Emperor Xuan zong is an important work of Ren Renfa,a painter of the Yuan Dynasty.The existing studies mainly focus on its style,narrative and implication,but the four attendants’which dressed on the left side are often regarded as palace eunuchs and ignored.To verify the gender and professional identity of the four attendants’,the author combines the relevant literature and the social fashion of women wearing men’s clothes in the Tang Dynasty.Firstly,for the gender identity,through the characters’dress,use multiple comparisons with the figures which in the relevant paintings of the Tang and Yuan Dynastiesand it turned out to be female.Then,combined with the tools held by the characters to analyze their professional identity.Finally,for the situation construction,this paper discusses the function of the four maids in the form of the painting’s composition and theme expression to further confirm the cultural identity of the characters.It is an attempt to study the history of art and culture by combining the results of costume history and the situation theory of the social psychology of clothing.