山水图式与遗民心态——倪瓒“一河两岸”图式的经典化历程与遗民自我形塑被引量：1

Landscape Schema and the Adherents’Mentality:the Canonization Process of NI Zan’s“One River,Two Banks”Schema and the Adherents’Self-fashioning

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摘要在长达20年的创作之中,倪瓒不断重复“一河两岸”的构图程式,作为倪瓒绘画创作生命中的“谜”之图式,“一河两岸”在经典化的衍变历程背后,所承载的是他的身份焦虑与遗民自我形塑及元代文人隐逸之风的悖论。从《秋林野兴图》到《江岸望山图》再到《渔庄秋霁图》,在元代易代危机之下,倪瓒的遗民身份认同的焦虑与隐逸形象的自我形塑通过“一河两岸”的经典化将这一复杂的心理转变暗示出来。倪瓒将自身与故国紧密联系,“一河两岸”图式、题跋、图像共同形塑了自我遗民的形象,终成一代遗民高士的典范。 NI Zan has repeatedly practiced the composition formula of“One River,Two Banks”schema in his 20-year creation.As the“Enigma”schema of NI Zan's painting life,“One River,Two Banks”carries the paradox of his identity anxiety between the Adherents’self-fashioning and the hermit style of the literati in Yuan Dynasty.Under the succession crisis of Yuan Dynasty,NI Zan’s identity anxiety of the adherent and self-fashioning of the hermit image were implied as a complex psychological change through the canonization of“One River,Two Banks”.Closely linking himself with his native land,NI Zan eventually became a model for a generation of adherents with the schema,inscriptions and postscripts,and images of“One River,Two Banks”that jointly shaped the image of adherents.

作者宋石磊 Song Shilei(Department of Chinese,Sun Yat-sen University,Guangzhou,Guangdong 510275,China)

机构地区中山大学中文系

出处《贵州大学学报（艺术版）》 2021年第1期94-99,共6页 Journal of Guizhou University Art Edition

基金广东高校省级重大科研项目青年创新人才类项目(项目编号:2015WQNCX189)。

关键词倪瓒图式一河两岸经典化遗民心态 NI Zan schema “One River,Two Banks” canonization adherent mentality

分类号 J205 [艺术—美术]