摘要
以往的中国艺术史研究较为关注正文文本分析,而忽略其注文文本及其他文本(题跋文本、序跋文本等),至于几者之间意义共生而形成的“综合性文本”更鲜有学人涉及。值得注意的是,在中国古代艺术著录中,正文文本多因注文文本而开出新义,获得新解读,这不仅仅是因为注文文本作为正文文本的“衍生物”,其往往是正文文本内容的补充、修正与考释,还因为正文文本与多数产生于后代的注文文本分别处于不同的时空,处于不同的历史文化背景,而具有“衍生性”性质的注文文本在对正文文本进行勘正及强调某些重点时,新层次的文本内容形成,而这个新的文本所彰显出来的意义也许从未被正文文本原作者所意识到或清晰地表达出来,对此问题进行揭示可开拓艺术史研究思路。
Previous studies on Chinese art history generally focus on the analysis of main texts while overlooking their annotation texts and other texts(such as postscripts and prefaces).Additionally,the“comprehensive texts”formed by the symbiotic relationship among them is rarely explored.It is noteworthy that in the cataloging of ancient Chinese art,main texts often acquire new meanings and interpretations due to annotation texts.This is because annotation texts as derivatives of main texts supplement,correct and annotate their contents.More important,most of them,written by later generations in different time and space and under different historical and cultural backgrounds,produce new textual content which may never have been realized or clearly expressed by the original authors of the main texts.
出处
《东南大学学报（哲学社会科学版）》
CSSCI
北大核心
2024年第2期117-123,148,共8页
Journal of Southeast University(Philosophy and Social Science)
