摘要
《祥龙石图》是宋徽宗亲绘御书的石题材绘画,除了皇帝本人对艺事的浓厚兴趣及高超造诣之外,其产生与宋代的赏石风尚、博物学认知及药石功能相关,而图像风格上的个性色彩则彰显出其祥瑞属性。本文回到《祥龙石图》生成的历史文化语境中,对比石母题在唐宋绘画中的演变,揭示此画在布局和物象组合上的特点。同时,立足祥瑞文化脉络,审视宋徽宗如何借图式设计,亲自参与到符瑞信物和符应语义的创造与诠释中,从而建立全新的祥瑞表征模式,以实现“神化”自我的身份建构。
Auspicious Dragon Rock is a rock-themed painting by Emperor Huizong of the Song Dynasty, which demonstrates the emperor’s deep interest in art and excellent painting techniques. It is related to the custom of appreciating rocks, the development of natural history and the function of medicine back then, and represents auspice through its style and use of colors. On the basis of the historical and cultural background of this painting, this paper compares the evolution of paintings under the rock theme created during the Tang and Song Dynasties and reveals features of the painting’s structure and image combination. Meanwhile, this paper examines how the emperor designed the rock to create and interpret auspicious images from the perspective of auspice culture, which helped the emperor develop a new model of expressing propitious meaning and building a “divine” identity.
出处
《美术》
CSSCI
北大核心
2022年第11期102-109,共8页
Art Magazine
基金
四川大学“从0到1”创新研究重点项目“宋徽宗的祥瑞观念与视觉文化建构”(项目编号:2020CXQ02)的阶段性研究成果。
关键词
祥龙石图
宋徽宗
祥瑞
神降
身份建构
Auspicious Dragon Rock
Emperor Huizong of the Song Dynasty
auspice
divine providence
identity building
