秦汉人物图画之风兴盛的历史脉络

The Formation of the Trend of Figure Painting in Qin and Han Dynasties

人物图画是对人物形象的再现,其发展过程应置于人物再现的范畴内来审视。早期的人物再现属于“类”的再现,受制于技术水平及神秘主义认知,以个体为对象的人物再现的难度较大。《国语》记载越王勾践“写范蠡之状”的故事,以及出土帛画表明,至迟在战国时代,再现特定人物已成为一种潮流。而这种潮流的形成,离不开君主意志、用途可控等因素对形象再现禁忌心态的抵消。伴随着战国秦汉的集权趋势,各级官府越来越多地采用人物图画的方式来引导社会思想。由于成为图画的对象意味着人生价值的实现,人物图画的接受度遂在秦汉时代达到了空前的高度。

As a form of representing person, the history of figure painting should be comprehended in the scope of person representation. In early stage, the object of figure representation was human in which single person.s character was ignored. Due to the factors such as technical level and mysticism, it was difficult to represent specific person.Based on the unearthed silk painting and Discourses on Governance of the States which recorded the story that the king of Yue named Goujian represented Fan Li with metal, it can be concluded that representing specific person became a trend in the Warring States Period. For the formation of this trend, such factors as monarch’s will and controllable use were preconditions. With the centralization of power after the Warring States Period, governments at all levels more often painted figures to guide the society. Since being selected as the object of figure painting signified the realization of the value of life, the extent of accepting figure painting reached an unprecedented height in Qin and Han Dynasties.