宋代孔子畫像（英文）

Song Paintings of Confucius

宋畫中孔子的圖像,無論是他單獨一人還是和别人一起,都與寺廟中正式的、正面坐著的塑像不同。馬麟的《道統聖賢十三像》中的孔子立像並没有留存,但現存的小幅畫可以間接反映它的特點。在表現三教合一的構圖中,孔子與釋加牟尼和老子一起,並且他也出現在爲水陸法會而製的繪畫中。更非正式的圖像描繪了孔子和他的弟子們,有时候出現在杏壇。這些圖像象徵著教導與傳播,它們出現在不同媒介中或作爲儒家經典書籍的封面。有些圖像基於曲阜孔子後裔所擁有的圖像,其權威的來源促使圖像被廣泛接受。孔子與榮啟期會面的圖像暗示了職責和隱退之間的衝突。孔子的圖像因其刻板的特點而具有很高的辨識度。他的圖像主要對於精英男性更具有意義。

The iconography of Song paintings of Confucius, whether alone or with others, differs from his formal,frontally seated temple sculptures. Ma Lin’s portrait of a standing Confucius for the Lineage of the Dao series has not survived, but its features may be reflected in extant small-scale paintings. In compositions representing the Three Teachings, Confucius joins Shakyamuni and Laozi, and he appears in paintings for the allinclusive Water-Land ritual. More informal images depict Confucius with close disciples,sometimes at the Apricot Altar. Symbolizing teaching and transmission, such compositions appear in various media and as frontispieces for Confucian Classics. Some images were based on pictures owned by Kong descendants in Qufu, an authoritative provenance facilitating wide acceptance. Illustrations of Confucius’ s encounter with the happy recluse Rong Qiqi suggest the conflict between duty and withdrawal. Depictions of Confucius are highly recognizable due to stereotyped features. His images were meaningful primarily to elite males.