摘要
游宴是一道人类特有的追求口腹之欲和精神欢愉的文化景观,也被西方各个时期画家作为视觉艺术的题材而诉诸笔端。古代埃及奈巴蒙墓室壁画表现了最初的种植园形态,并间接折射出主人的游宴生活;古希腊、罗马时的园林饮宴图像反映出当时人们的享乐观念,宴乐成为一种流行的社交方式;欧洲中世纪时期,表面上奢侈和娱乐等人性欲望在日常生活中受到贬抑,但贵族庄园依然存在以宴会和狩猎为内容的娱乐生活,相关图像中既反映现实生活又富含深层隐喻;15至18世纪园林游宴图像充满了人文主义精神,洋溢着一种浮靡欢快的享乐气息,反映出当时贵族阶层生活的浮华和闲适;工业文明时期,园林宴乐活动和图像呈现出现代性的气息,折射出当时民众的行为、时尚以及画家精神世界中关于新时代社会、人生的深刻理解。
Party is a particular human's material and spiritual cultural landscape which is described by painters of dif- ferent periods. In ancient Egypt, Naibamong tomb fresco displayed the form of preliminary planting garden and indi- rectly reflects masterg party life. Images of garden party in ancient Greece and Roman reflected an idea of leading a life of pleasure. In that time, party and entertainment becomes a fashionable social contact. In medieval time in Eu- rope, although superficially, humang daily desires were constrained, there still was entertainment life such as parties and hunting in aristocrats'manors. From 15 to 18 century, party images were full of a sense of humanism and happi- ness, disclosing nobles' leisure life. In industrial period, garden party activities and images represented a modern sense and reflected painters'profound understanding of civilians'behavior, fashion, society, and life.
出处
《艺术百家》
CSSCI
北大核心
2013年第4期129-136,共8页
Hundred Schools In Arts
基金
2010年度教育部人文社会科学研究青年基金项目"中西园林行乐生活图像表现之比较研究"(项目编号:10YJC760024)阶段性成果之一