論《芥子園畫傳》的文學(xué)意蘊(yùn)
發(fā)布時(shí)間：2018-10-25 07:29
【摘要】：《芥子園畫傳》是中國(guó)美術(shù)史上一部權(quán)威性的繪畫百科全書,但一直以來(lái),學(xué)界對(duì)其關(guān)注點(diǎn)多集中在其作為畫學(xué)入門教材的意義和價(jià)值上,幾乎沒(méi)有對(duì)《芥子園畫傳》文學(xué)性的專文研究。事實(shí)上,《芥子園畫傳》的主要編刊者沈心友和王概三兄弟等人對(duì)《芥子園畫傳》的文學(xué)性有著較為明確的追求。本文試圖系統(tǒng)地對(duì)《芥子園畫傳》中的文學(xué)形式進(jìn)行具體分析,以期對(duì)《芥子園畫傳》的文學(xué)意蘊(yùn)進(jìn)行深層次的較為全面的探討。全文共分為四個(gè)章節(jié)。第一章“《芥子園畫傳》的文學(xué)追求”。本章主要明確《芥子園畫傳》編刊者沈心友、王概等人自身具備較高的文學(xué)素養(yǎng)并將之自覺(jué)地融入到了《芥子園畫傳》的編刊中,重視并追求《芥子園畫傳》的文學(xué)性,《芥子園畫傳》從名稱到內(nèi)容都有著深厚的文學(xué)淵源。第二章“《芥子園畫傳》文字的文學(xué)形式”。本章試圖從《芥子園畫傳》豐富的序跋和題辭、散文體畫論、詩(shī)歌體畫論和評(píng)點(diǎn)體畫論入手,細(xì)究其中的文學(xué)內(nèi)涵。《芥子園畫傳》多樣的文學(xué)形式都顯示出了濃厚的文學(xué)意蘊(yùn),在文學(xué)性表達(dá)和技術(shù)性要求的調(diào)適中甚至出現(xiàn)了重視文學(xué)性而削弱技術(shù)性表達(dá)的情況,這也是編刊者對(duì)《芥子園畫傳》文學(xué)性追求的匠心所致。第三章“《芥子園畫傳》的配畫詩(shī)”。本章著重對(duì)《芥子園畫傳》中的配畫詩(shī)進(jìn)行了分析。先簡(jiǎn)要明確了配畫詩(shī)的來(lái)源,再?gòu)呐洚嬙?shī)的情感意蘊(yùn)和藝術(shù)闡釋入手具體分析。配畫詩(shī)的情感態(tài)度主要有入畫之想、臥游之樂(lè)、閑適之趣和隱居之思,《畫傳》在藝術(shù)上追求著配畫詩(shī)與畫作的和諧,利用詩(shī)作的想象、象征、通感和詩(shī)書畫印意蘊(yùn)的融合等多種審美路徑,達(dá)到對(duì)《芥子園畫作》文學(xué)性與美學(xué)性的結(jié)合,由此體現(xiàn)編刊者對(duì)《芥子園畫傳》的文學(xué)性追求,彰顯《畫傳》深厚的文學(xué)內(nèi)涵。第四章“《芥子園畫傳》印章的文學(xué)史料價(jià)值”。本章旨在考辯《芥子園畫傳》中的印章,以增進(jìn)對(duì)李漁事跡、沈心友事跡和“蕉園詩(shī)社”的了解。分析《芥子園畫傳》印章的考辯結(jié)果,可以將之作為以下幾個(gè)論斷的佐證:第一,“新亭客樵”是王概的別號(hào)而并非李漁的別號(hào)。第二,沈李龍是沈心友的父親,沈澤民是其祖父。第三,沈沆、沈潛、沈渭、沈清皆為沈心友之子,沈姒音為其女。第四,李淑昭很有可能是“蕉園七子”中的一員。
[Abstract]:The biography of Mustard Garden painting is an authoritative encyclopedia of painting in the history of Chinese art, but all along, scholars have focused their attention on its significance and value as an introductory textbook for the study of painting. There is almost no literary research on the Biography of Mustard Garden painting. As a matter of fact, Shen Xinyou and Wang Gongsan, the chief editors of the Biography of Mustard Garden paintings, have a clear pursuit of the literariness of the Biography of the paintings of Mustard Garden. This paper attempts to make a systematic analysis of the literary forms in the Biography of Mustard Garden paintings in order to make a deep and comprehensive discussion on the literary implications of the Biography of Mustard Garden paintings. The full text is divided into four chapters. Chapter one: the Literary pursuit of the Biography of Mustard Garden painting. This chapter mainly makes it clear that Shen Xinyou and Wang Geng, the editors of the Biography of Mustard Garden paintings, have high literary qualities and have consciously incorporated them into the compilation of the Biography of Mustard Garden paintings. We attach importance to and pursue the literariness of "Biography of Mustard Garden paintings", which has a deep literary origin from name to content. The second chapter is the Literary form of the characters. This chapter attempts to start with the abundant prefaces and inscriptions, the theory of scattered style and painting, the theory of poetic style and the theory of comment on style and painting in the Biography of the paintings of Mustard Garden, and to study the literary connotation of them. The various literary forms of the Biography of the paintings of Mustard Garden show a strong literary connotation. In the adjustment of literary expression and technical requirements, there even appeared the situation of attaching importance to literariness and weakening the technical expression, which was also the result of the craftsmanship pursued by the editors of Mustard Garden painting Biography. The third chapter is "the Biography of Mustard Garden painting". This chapter focuses on the analysis of the accompanying poems in the Biography of Mustard Garden paintings. Firstly, the origin of the poems is briefly defined, and then the emotional implication and the artistic interpretation of the poems are analyzed in detail. The emotional attitude of painting poetry mainly includes the idea of entering painting, the pleasure of lying down, the fun of leisure and the thought of seclusion. Painting Biography pursues the harmony between painting poem and painting in art, and makes use of the imagination and symbol of poetry. The combination of synaesthesia and poetry, calligraphy, painting and imprint is the combination of literature and aesthetics of Mustard Garden painting, which reflects the writers' pursuit of literature and reveals the profound literary connotation of "painting Biography". Chapter four: the value of the Seal's Literary Historical Materials. The purpose of this chapter is to discuss the seal in Mustard Garden painting Biography to promote the understanding of Li Yu's deeds, Shen Xinyou's deeds and the Canna Garden Poetry Society. The analysis of the result of the seal of Mustard Garden painting can be used as the corroboration of the following conclusions: first, "Xinting Guoqiao" is a different name of Wang Cai and not that of Li Yu. Second, Shen Li long is the father of Shen Xinyou and Shen Zemin is his grandfather. Third, Shen Kang, Shen Qian, Shen Wei and Shen Qing are all sons of Shen Xinyou. Fourth, Li Shuzhao is likely to be a member of the Seven Canna Garden.
【學(xué)位授予單位】：揚(yáng)州大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J205;I206.2
本文編號(hào)：2293042
[Abstract]:The biography of Mustard Garden painting is an authoritative encyclopedia of painting in the history of Chinese art, but all along, scholars have focused their attention on its significance and value as an introductory textbook for the study of painting. There is almost no literary research on the Biography of Mustard Garden painting. As a matter of fact, Shen Xinyou and Wang Gongsan, the chief editors of the Biography of Mustard Garden paintings, have a clear pursuit of the literariness of the Biography of the paintings of Mustard Garden. This paper attempts to make a systematic analysis of the literary forms in the Biography of Mustard Garden paintings in order to make a deep and comprehensive discussion on the literary implications of the Biography of Mustard Garden paintings. The full text is divided into four chapters. Chapter one: the Literary pursuit of the Biography of Mustard Garden painting. This chapter mainly makes it clear that Shen Xinyou and Wang Geng, the editors of the Biography of Mustard Garden paintings, have high literary qualities and have consciously incorporated them into the compilation of the Biography of Mustard Garden paintings. We attach importance to and pursue the literariness of "Biography of Mustard Garden paintings", which has a deep literary origin from name to content. The second chapter is the Literary form of the characters. This chapter attempts to start with the abundant prefaces and inscriptions, the theory of scattered style and painting, the theory of poetic style and the theory of comment on style and painting in the Biography of the paintings of Mustard Garden, and to study the literary connotation of them. The various literary forms of the Biography of the paintings of Mustard Garden show a strong literary connotation. In the adjustment of literary expression and technical requirements, there even appeared the situation of attaching importance to literariness and weakening the technical expression, which was also the result of the craftsmanship pursued by the editors of Mustard Garden painting Biography. The third chapter is "the Biography of Mustard Garden painting". This chapter focuses on the analysis of the accompanying poems in the Biography of Mustard Garden paintings. Firstly, the origin of the poems is briefly defined, and then the emotional implication and the artistic interpretation of the poems are analyzed in detail. The emotional attitude of painting poetry mainly includes the idea of entering painting, the pleasure of lying down, the fun of leisure and the thought of seclusion. Painting Biography pursues the harmony between painting poem and painting in art, and makes use of the imagination and symbol of poetry. The combination of synaesthesia and poetry, calligraphy, painting and imprint is the combination of literature and aesthetics of Mustard Garden painting, which reflects the writers' pursuit of literature and reveals the profound literary connotation of "painting Biography". Chapter four: the value of the Seal's Literary Historical Materials. The purpose of this chapter is to discuss the seal in Mustard Garden painting Biography to promote the understanding of Li Yu's deeds, Shen Xinyou's deeds and the Canna Garden Poetry Society. The analysis of the result of the seal of Mustard Garden painting can be used as the corroboration of the following conclusions: first, "Xinting Guoqiao" is a different name of Wang Cai and not that of Li Yu. Second, Shen Li long is the father of Shen Xinyou and Shen Zemin is his grandfather. Third, Shen Kang, Shen Qian, Shen Wei and Shen Qing are all sons of Shen Xinyou. Fourth, Li Shuzhao is likely to be a member of the Seven Canna Garden.
【學(xué)位授予單位】：揚(yáng)州大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J205;I206.2
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，本文編號(hào)：2293042
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