何以成“金粟”？——《金粟道人小像》的图式整合与元末江南文士的典范建构

• 作者： 杨嫣 ¹
• 作者单位：
  1.  湖州师范大学
• 通讯作者： 杨嫣 
• 发布时间：2026-07-07

摘要: 1358年，元末江南名士顾瑛为自己绘制“遗像”《金粟道人小像》。这幅文人肖像融合了维摩诘、罗汉、竹林七贤、道教真人、禅宗祖师五种图式传统，通过身体框架、空间环境、精神气质与符号点缀的功能互补，实现了有机整合。这一机制使顾瑛将五种典范人格汇聚一身，完成了“典范建构”。这是元末江南文士在仕途阻塞、战乱流离中安顿自我、传承文脉的重要策略。顾瑛以玉山雅集和诗文编纂保存文脉，又以小像图式整合接续了东晋以来的视觉传统，在乱世中完成了一场多层面的文化守护。《金粟道人小像》不仅是一幅遗像，更是一部浓缩的元末江南文士精神史。

Abstract: The Portrait of Jinsu Daoren is the only known extant portrait of Gu Ying, yet the authentic version recorded by Qian Qianyi was lost at the end of the Ming dynasty, while the Jiading stone rubbing and the Ogawa paper handscroll remain. What is the relationship between these two surviving objects and the documented authentic version? Are they the transmission of the same painting or reconstructed versions of a single image? Based on first-hand examination of the stone rubbing, combined with textual research and visual analysis, and using Ni Zan’ s portrait as a parallel case study, this article reconstructs the circulation history of Gu’ s portrait. The research reveals that neither surviving object is an authentic Yuan work. The paper handscroll was produced in the late Ming, featuring a style of “fine lines with light ink washes,” with its calligraphy and seals added later by copyists. The stone rubbing was carved based on the paper handscroll in the late Ming, resulting in coarser lines due to the transfer of media. The original Yuan version, now lost, was likely painted by Zhang Wo, who had close ties with Gu Ying and excelled in iron-line drawing. The evolution of the painting’ s title from “Three Teachings Portrait” to “Portrait of Jinsu Daoren” traces the canonization of Gu’ s image. Ni Zan’ s stone rubbing follows a “creative recombination” model, while Gu Ying’ s adopts a “faithful reproduction” model, together revealing a common mechanism in Ming stone rubbing production: images could be transmitted through sketches, texts could be drawn from literary sources; they could be either faithfully preserved or creatively recombined. The “transmission” of Gu Ying’ s portrait is not a linear succession of an original work, but the life history of an image system constantly reconstructed through media transformation.

• 来自： 杨嫣
• 分类： 艺术学 >> 美术与书法
• 稿件状态： 未投稿
• 引用： PSSXiv:202605.00260 (或此版本 PSSXiv:202605.00260V3)
  DOI:10.12451/202605.00260
  CSTR:32012.36.PSSXiv.202605.00260
• 推荐引用方式： 杨嫣.何以成“金粟”？——《金粟道人小像》的图式整合与元末江南文士的典范建构.哲学社会科学预印本平台:https://zsyyb.cn/abs/202605.00260.[PSSXiv:202605.00260V3] (点此复制)