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绘画史中的弘仁(1610-1664)被列为清初“四僧”画家之一,学者常常将其绘画风格与其遗民身份结合在一起。这固然凸显了其迥异他人的人生际遇与个人风格,具有符号化和传播学上的便利,但也遮蔽了其生活的丰富图景。而且,对其“遗民画风”的阐述多基于风格学层面,而风格下的图式等层面,以及图式与精神意涵之间的链接关系尚需进一步深入解读。弘仁画中的遗民情结早已被诸多学者指出。而有些作品,如果仅从风格学意义上来探讨其遗民情结,则力度有限。比如其早年的《黄山图册》(60开)1。这60开的图册中,一图一景,描绘了黄山的60个景点,这套画作属于典型的胜景图。胜景图又称为名胜图,属
In the history of painting, Hongren (1610-1664) was listed as one of the “Four Monks” painters in the early Qing Dynasty. Scholars often combined their painting style with the identities of their survivors. This not only highlights the life experience and personal style of others, but also has the symbolic and communication convenience, but it also obscures the rich picture of their life. Moreover, the explanations of his “descendants ’style of painting ” are mostly based on the stylistic level, while the stylistic level under the style and the linkages between schemata and spiritual meaning need to be further explored. Hongren paintings in the descendant complex has long been pointed out by many scholars. Some works, if only from the perspective of style to explore their descendants complex, the intensity is limited. For example, its early “Huangshan Atlas” (60 open) 1. This 60 open atlas, a picture of a scene depicting the Huangshan 60 attractions, this painting belongs to a typical scenic view. Shengjing map, also known as the map, is