渔父意象在中国历代的诗词里是非常重要的意象，深受文人喜爱。本文即以元代散曲中的渔父意象为研究对象，全面并深入分析其在元散曲中的象征功能与其昭示的文化意义。一切和渔父相关的物象比如渔网、鸣榔、钓竿、钓舟等，以及以渔父身份名世的历史或文学人物，比如姜尚、范蠡、严子陵，及《庄子》与《楚辞》里的渔父形象等，都在考察范围内。其中约60位作家近200首作品里包含有这类的意象，占元散曲总数的5%左右。这近二百首散曲里，约有三十余首以渔父为题目，以渔父生活为写作对象的散曲作品，在本文中称其为渔父散曲，其它为使用了渔父意象的散曲。单从用意方面讲，渔父散曲有两种基本风格，静澹和豪放。静澹风格的渔父散曲，暗合王国维先生所提出的“无我之境”，作者本人的情感相对隐蔽。而豪放风格的渔父散曲，暗合“有我之境”，作者借渔父生活来表现文人自己的志向情趣。文学中渔父生活的两种风格内涵浓缩而成为渔父意象，本文的主体部分即论述渔父意象在各类散曲的运用，分析其具有的象征内涵与文学功用。第二章里，分析了渔父意象在隐逸类散曲中的运用。本文散曲所表达的隐逸思想分为三类，第一类隐逸偏重写对山林隐逸生活的喜爱；第二类隐逸表现儒家的世俗理想；第三类隐逸则是否定一切的道家隐逸思想。各类散曲中的渔父意象特征也有相应的差异。第三章里，重点论述了一下与渔父意象相关的咏史散曲。首先分析了渔父意象在咏怀古迹类散曲中的作用；其后论述了吟咏古代渔隐人物的散曲；在最后一节中，分析了“渔樵闲话”作为一种历史叙事模式的特殊性，揭示了元代散曲作者对历史意义别具特色的见解和把握。在第四章里，分别论述渔父意象在其它各类散曲中的功用。比如在山水散曲中，渔父是山水之景的一个和谐组成部分。在羁旅抒怀类的散曲中，渔父意象以其平淡闲散的特征，用以兴发文人的阻隔或漂泊意识；由于陶渊明的《桃花源记》和刘、阮天台山故事的流传，渔父又成为狭邪游的主角；又有些散曲，反映了渔父生计之艰难，渔父则具有了尘世奔波的象征意味。

The old fisherman imago is a very important image in the Chinese previous dynasties' poetries, and it is deeply loved by literators. This article, which takes the old fisherman image in Sanqu of the Yuan Dynasty as the study object, analyzes the symbolic function and the cultural significance the image shows in Sanqu of Yuan Dynasty comprehensively and thoroughly.All correlative image of old fisherman , such as fishing net, the cry betel, the fishing pole , as well as some histories or literators celebrated as old fisherman. At the same time, Jiang Shang, Fan Li, Yan Ziling, old fisherman image in "Zhuang-zi" and "Chuci" and so on, are all within the study scope. This kind of image appears in about 200 works wrote by 60 writers, being 5% of the total number of Yuan Sanqu.In these two hundred Yuan Sanqu, about more than 30 pieces’ subjects are the old fisherman, which takes the old fisherman’s life as the writing object. In my article, I call them old fisherman Sanqu, while I call others the Sanqu used the old fisherman image. The old fisherman Sanqu has two kind of basic styles: peaceful and bold. The peaceful style agrees with "realm without me" theory proposed by Wang Guowei, in which the author’s emotion is cryptical. While the bold style agrees with "realm with me" theory, in which the author displays his own ideal by the old fisherman’s life. To the Hermit Sanqu, I will interpret works more detailed through cultural differences between Confucianism and Taoism in this paper. And I will proceed my discussion from the cultural factor reflected in the works to particular fisherman image. According to the emotions reflected in the works, I divide the works into three categories. The first Hermit Sanqu emphasizes particularly on the favor of the mountain recluse life .The second category recluse Sanqu contains the Confucian common customs ideal. While the third category recluse works mainly negative all the reality, which is a typical Taoist recluse thinking.In the third chapter, I focus on chanted history Sanqu with the old fisherman image. First, I have analyzed the function of the old fisherman image in Sanqu expressing feelings on historical site. And I thought that the old fisherman has acted as a heartless and eternal contemplation of the vicissitudes history. While the dissertation of Sanqu, has cantillated the historical personage and the literature character. In the last section, I have analyzed the particularity of the historical narrative pattern of “claver between fisherman and lumberman”, and revealed the particular grasp of the Sanqu author in the Yuan Dynasty on the historical significance.I’ve also talked about the function of the old fisherman image in other kinds of Sanqu in the fourth chapter. For instance, in the Scenery Sanqu, the old fisherman is a harmonious component of the scenery. In the kind of Sanqu expressing feelings when lives abroad , the old fisherman image played a very good role to display the author’s emotions with its idle and ease characters. And some other authors wrote the poverty of the old fisherman. These works reflect the humanity's universal condition of life and have strong realism meaning.