摘要
明代画家谢时臣的《虎阜春晴图》描绘的是从山南北望的虎丘前山全景,占据画面上疆的却是一座事实上不存在的高山。论文借助纵贯虎丘的剖面和《虎阜春晴图》的想象剖面,平行解读明代中叶以前虎丘的真实空间和画中的空间,进而在人文景观的切面中寻求虎丘文化意涵的积淀与转变,由形及景,由景及风,认为明代中叶时,引发极致想象的自然禀赋和积淀千年的历史与传奇在诗文书画的不断书写中塑造了虎丘的意涵与特质,使得一座培塿小丘成为精神上的高山,一如谢时臣所绘。
Xie Shichen, a painter of the Ming dynasty, painted "Hufu Chunqing Tu" that depicts the panorama of the front of Huqiu viewed from south towards north, however the precipitous high mountain on the upper half of the hanging scroll does not exist in realities. Comparing the longitudinal sections of the hill and the imaged section in the painting, the paper offers paralleling interpretations of the real space and space in paintings and presents the transition of the landscape of Huqiu through a series of sections of the hill and the painting. It further traces the sedimentation and evolution of the cultural implications of Huqiu in human landscape. As a result of continuous reiteration and reinvention in poems and essays of boundless imagination, the low and plain Huqiu has become the great mountain in spiritual terms by mid-Ming dynasty, as manifest in Xie's painting.
出处
《建筑学报》
CSSCI
北大核心
2018年第4期96-102,共7页
Architectural Journal
基金
中国国家留学基金项目(201706155039)
关键词
虎丘
虎阜春晴图
谢时臣
剖读
风景
境致
三远
文化书写
Huqiu (Tiger Hill)
Hufu Chunqing Tu (scenes of Huqiu in springtime)
Xie Shichen
sectional analysis
landscape
spectacle
three perspectives
cultural writing