摘要
根据朱舜水真人绘制的原像和后来据此原像临摹的画像至少有十一种,其中水户彰考馆(现为财团法人德川博物馆)所藏的四种画像或塑像,是以朱舜水本人为对象并经过再创作而绘(制)成的原像。幕末期的朱舜水肖像,出现了武士化的迹象,这一信号无疑向我们昭示了幕末志士们想用武力来回复皇权、剿灭贼寇的政治诉求。而被明显强化了的朱舜水的武士形象,就是在这样的背景下应运而生的。本文的目的,是从不同时代的朱舜水肖像中看到日本社会的实际需要,再从日本社会的实际需要中把握到它背后历史剧变的时代脉搏。
There are at least eleven kinds of portrait of Zhu Shunshui, including the original and the copy according to the original; four kinds of paintings or statues in the Dokukawa Museum, are original portraits according to Zhu Shunshui himself and re-creation. Portraits of Zhu Shunshui in the late Tokukawa Shogunate period have some signs of samurai which reveals undoubtedly the political claim that the patriots who want to use force to restore imperial power and to eliminate the thieves. The samurai figure of Zhu Shunshui strengthened significantly emerged at this historic moment. This article is to realize the actual needs of Japanese society from the portraits of Zhu Shunshui at different times, and then from the actual needs of Japanese society, we can grasp the pulse of the great historical upheavals.
出处
《浙江社会科学》
CSSCI
北大核心
2017年第11期113-121,共9页
Zhejiang Social Sciences
基金
国家社科基金重大项目"阳明后学文献整理与研究"(15ZDB009)
贵州省2017年哲学社会科学规划国学单列课题(17GZGX05)的阶段性成果
浙江省社会科学院"中国哲学史"重点学科支持
关键词
朱舜水
肖像
形成
思想意义
Zhu Shunshui
portrait
formation
ideological significance
