本文从杜甫画像入手，从历史文化的脉络，分三章探讨唐宋以来，不同时期杜甫形象的解构与建构。 宋元时期，杜甫骑驴图流行于禅林。“杜甫骑驴”的演变过程中，杜诗里蹇困落魄的原始形象与北宋塑造的闲逸雅致、忠义慷慨面貌逐渐被消解、改变。到了南宋中后期，在儒释结合的文化背景与王朝末年的社会环境下，图绘、题赞“杜甫骑驴”成为禅僧自我表达的方式。他们以禅意绘画杜甫，以儒心观看杜甫，建构了一个表面隐逸清高，内心悲凉哀苦的消极形象——这一形象有别于传统的诗人骑驴意象，彰显杜甫骑驴之于南宋禅林的特殊意义。明清时期，皇室确立起宫廷画的圣贤像系统，南薰殿杜甫像就是这一“圣贤名臣像”集合的范本。宮廷画家通过相术与像赞奠定了圣人的外形内像。随后，藩府复刻并改造该像，使得杜甫圣贤形象更符合明人想象。及至明末，藩府刻本通过藏书家、书商之手，流向民间，版刻画的商业繁荣、民间祭祀活动以及自上而下的造圣运动，都使得杜甫圣贤形象得以在各个阶层普及。“诗圣”从宫廷藩府的“私”领域，转向商业市场与民俗活动的“公”领域，使得杜甫的“圣化”超出了文学史的范畴，而具有文化史的意义。其后，随着帝制时代的结束与新中国的成立，改造旧思想的文化政策影响了杜甫的艺术形象。这一时期，杜甫形象主要出现在连环画与主流人物画中。这些画像消解了帝制时代杜甫的神圣性，赋予其人民性、革命性等主流政治文化意象，建构了一个阶级分明，具有斗争意识的“人民诗人”。文革结束后，伤痕艺术中的“杜甫”出现了去阶级化的特点。当代网络“恶搞”杜甫事件，则是一次自下发起的、极具娱乐性的文化活动，体现杜甫形象演变的又一可能性。 总的来说，“杜甫”作为一种文化符号，在不同时代、不同群体中产生了纷繁复杂的意义。杜甫形象的建构过程伴随着诸多偶然因素，也深深受到文化思潮与政治环境的影响。

This article utilizes Du Fu’s portraits to discuss the continuous deconstruction and construction of typical images of Du Fu in three chapters from the historical and cultural perspectives. During Song and Yuan Dynasties, the paintings of “Du Fu Riding a Donkey” were popular among Zen monks. Du Fu’s original image that was impoverished and downcast, and the appearance of a hermit that lived leisurely with loyalty create in the Northern Song Dynasty were both disappeared and changed. In the mid and late Southern Song Dynasty, drawing and commenting “Du Fu riding a donkey” became a self-expression for Zen monks under the cultural background of the convergence of Confucianism and Buddhism and social environment at the end of the dynasty. They painted Du Fu with Zen philosophy and appreciated him from a Confucian perspective that constructed a negative image with outward idleness and inward sadness——That differed from traditional imagery of “Poet Riding a Donkey” and highlighted the special significance of “Du Fu Riding a Donkey” for Zen monks in Southern Song. In Ming-Qing Dynasty, the royal family established the system of sage images in palace painting, and Du Fu Portrait in Nanxun Hall was a model for this collection. The court painter established both internal and external image of poet-sage by using physiognomy and inscription. Afterwards the prince mansion re-engraved and reconstructed the portrait collection, making the sage image of Du Fu more in line with the imagination of Ming’s people. By the end of Ming Dynasty, the scriptures from prince mansion spread to the public through bibliophiles and booksellers. The sage image of Du Fu became popular at all levels due to the commercial prosperity of engraving painting, the folk sacrificial activities and the top-down sanctification movement. “Poet-sage” shifted from the private field of palace and mansion to the public zone of commercial markets and folk activities, making Du Fu’s sanctification a cultural event. Later, the new cultural policy of transforming old ideas influenced Du Fu’s artistic image with the end of the monarchy era and the founding of “new China”. During this period, Du Fu’s image mainly appeared in comic strips and mainstream figure paintings. These portraits dispelled the sacredness of Du Fu and gave it the mainstream and cultural imagery such as the affinity to the people and revolutionary spirit, constructing a “Poet of People” with a clear sense of class and strong spirit of fighting. After the end of the Cultural Revolution, “Du Fu” appeared to be declassified in scar art. The spoofing event of Du Fu image in network was a very entertaining cultural phenomenon initiated from the bottom class, reflecting another possibility of the evolution of Du Fu’s image. To conclude, “Du Fu”, as a cultural symbol, had complex meanings in different eras and groups of people. The construction process of Du Fu’s image was associated with many accidental factors, and was also deeply influenced by cultural thoughts and political environment.