摘要：本文旨在探究在玄风盛行的时代顾恺之为何没有选择当时名士偏爱的玄学作为绘画题材，同时探究使绘画题材及绘画功能性改变的因素。魏晋南北朝时期玄风盛行、自西汉至南北朝绘画题材及功能性发生了改变,玄学在顾恺之生活的时代已成为绘画题材的主流，但顾恺之作品的题材选择与绘画的功能性却与之不同，且顾恺之的绘画功能性并不是玄学提倡的避世贵生，顾恺之在魏晋玄学风盛行的情况下未选择玄学题材作画的原因，是因为顾恺之的家庭是崇尚儒家理论的士族家庭，顾恺之所交挚友也皆是权贵，顾恺之政途虽有坎坷却受上位者看重。同时由此研究出绘画题材和功能性改变是受到了时代背景及个人生活经历的影响。60492

毕业论文关键词：魏晋南北朝，玄学风，顾恺之，绘画题材，绘画功能性

Abstract：The paper is not only discussing about why Gukaizhi did not choose the metaphysics as the drawing theme that most celebrities preferred to ,but also investigating what can change the painting themes and functions.As we all knew,during the wei jin southern and northern dynasties , metaphysics was so popular ,from west Han to wei jin dynasties ,that painting themes and functions had changed a lot.At Gu’s living time,metaphysics had become most prevailing. However,Gu didn’t choose metaphysics as the only source of inspiration. Consequently, his works was absolutely different from others’. The reason ,why Gu didn’t choose metaphysics as the drawing themes,is that his family praised highly in Confucianism and Gu’s friends were all dignitaries. Even though,Gu had several setbacks in his personal political career, his theory was placed high value on. As consequence,these changes were influenced by time background and personal life experience.

Keywords: Wei Jin and The northern and Southern Dynasties,   Metaphysics,   Gu Kaizhi,     The theme of pating,The function of painting

1引言 5

2东汉至魏晋的时代背景 6

3东汉至魏晋的时代背景下玄学的发展及影响力 6

3.1玄学之风渐盛的原因及魏晋时期玄学的意义 6

3.2从美术作品观玄学风的影响力 7

4顾恺之绘画题材的特立独行 10

4.1顾恺之绘画作品题材比例分析 10

4.2顾恺之存世作品题材内容分析 11

5顾恺之特立独行的缘由 13

5.1顾恺之的家庭背景与家族使命 13

5.2顾恺之的交友 14

5.3顾恺之的政治经历 14

结论 16

参考文献17

致谢 18

1.引言

自西汉始至南北朝终，这八百多年的时光里，平和的盛世景象逐渐瓦解崩塌，乱世之势渐成，儒家之学在这样的社会背景之下也渐失人心，玄学之风大盛。在这样的政治、社会背景下，自西汉至魏晋南北朝的美术题材也随之发生了转变。魏晋尤其是南北朝时期，美术题材逐渐由汉时期的儒家伦理、忠仁孝义、明劝诫题材为重转变成了以避世贵生，玄远旷达的玄学题材为重。

整合顾恺之有史记载的作品，不难发现，顾恺之的绘画作品中，题材为政治名人画像，儒家伦理，劝诫世人的作品仍占多数，其绘画题材并未像魏晋时期大多数美术作品题材一样重视玄学，而是仍注重忠仁孝义，其绘画的功能性仍重在劝诫世人。着重分析顾恺之的《洛神赋图》，《列女仁智图》，《女史箴图》，得到些许发现。顾恺之的《洛神赋图》是根据曹植《洛神赋》所绘，联系曹植作《洛神赋》背景与顾恺之绘《洛神赋图》时的背景，我们可以了解到，顾恺之《洛神赋图》的主旨思想应为隐喻君臣大义。而《列女仁智图》和《女史箴图》两幅画作的内容主题均为古代烈女仁女的名事迹，综合顾恺之所处时代政治背景，此两幅作品的内涵应为劝诫君王远小人亲贤臣，暗讽权臣篡乱。