摘要：

丰子恺的漫画与散文是互证其“市民伦理新探”的对应图文，若将其图文所呈现的伦理新探分为青、中年两个阶段，则 1937 年前为青年阶段，1937 年后为中年阶段。1933 年前丰子恺居于沪上江湾“缘缘堂”，此时，其散文与漫画主要聚焦于他亲手营构的、洋溢着孩子天真笑声的空间，这也是其赖以安魂的个体生命伦理的符号化所在。从中他试图体认个体生命的真谛或人赖以有意义地活着的依据。1933—1937 年丰子恺居于浙江桐乡石门湾“缘缘堂”，其散文与漫画则主要聚焦于社会人际空间，突破其个体伦理的狭隘边界。故从江湾到石门湾，“缘缘堂”已成为丰子恺尝试“市民伦理新探”的两个文化遗址。

关键词:

丰子恺, “缘缘堂”, 市民伦理, 图文互证

Abstract:

Feng Zikai’s cartoons and proses mutually demonstrate his exploration of “civic ethics” through visual and textual correspondence. If we divide his exploration of ethics into two stages-youth and middle age-pre-1937 represents the youth stage, while post-1937 represents the middle age stage. Prior to 1933, Feng Zikai resided in the “Yuan Yuan Tang” in Jiangwan, Shanghai. During this period, his proses and cartoons mainly focused on the space he personally constructed and filled with the innocent laughter of children. This space symbolized the individual’s ethical significance and served as a source of solace for his life. Through his work, Feng Zikai attempted to comprehend the true essence of individual life and the basis for meaningful existence. From 1933 to 1937, he resided in the “Yuan Yuan Tang” in Shimenwan, Tongxiang, Zhejiang. During this period, his proses and cartoons shifted their focus to social interpersonal spaces, transcending the narrow boundaries of individual ethics. Thus, from Jiangwan to Shimenwan, the “Yuan Yuan Tang” has become two cultural sites where Feng Zikai embarked on his exploration of “civic ethics”.

Key words:

Feng Zikai,  “Yuan Yuan Tang”,  civic ethics,  mutual verification of visual and textual elements