隐逸世界:论元代文人山水画的“符号域”

发布时间：2018-01-27 13:21

本文关键词： 元代文人符号结构形式层面洛特曼赵孟倪瓒画廊黄公望中国美术馆钱选　出处：《文艺研究》2017年12期 　论文类型：期刊论文

【摘要】：文人山水画是元代艺术的主流,而元代文人山水画则是文人画的巅峰,这主流和巅峰的要义皆为"逸",即以身的归隐来追求心的自由。在意识形态的观念层面上说,"逸"即隐逸精神,在艺术风格的形式层面上说,"逸"指率意笔墨,二者的互动揭示了元代文人山水画之隐逸世界的符号结构。本文借鉴洛特曼的"符号域"概念来解读元代文人山水画的隐逸世界,探讨这一符号结构,力图说明:隐逸精神与率意笔墨成就了元代文人山水画在观念与形式两个层面上的同心圆符号结构,由此,中国艺术传统中的"隐逸世界"得以构建,隐逸精神也确立为中国传统山水画的核心精神。
[Abstract]:Literati painting is the mainstream art in Yuan Dynasty, the literati landscape painting of Yuan dynasty literati painting is the essence of the peak, and the peak is the mainstream of "Yi" is to return to the pursuit of the freedom of mind. In the concept of ideology, "Yi" is the spirit of seclusion, the artistic style of the form level said, "Yi" refers to the rate of Italy ink, the interaction of the two reveals the symbol structure of hermit Yuan dynasty literati landscape painting of the world. This article from Lotman "Semiotic Domain" concept to interpret the literati landscape paintings in Yuan Dynasty hermit world, explore the symbol structure, and tries to show that the spirit of seclusion and the achievements of the text meaning rate the concentric circle symbol structure, literati landscape painting of Yuan Dynasty in the two aspects of the concept and form of the traditional art, China in "hermit world" is constructed, the reclusive spirit for the establishment Chinese traditional landscape painting core spirit.

【作者单位】：加拿大康科迪亚大学文理学院;
【分类号】：J212
【正文快照】： 继南宋山水画由前朝的摹写自然转向表述内心之后,元代山水画大都专注于文人画家的隐逸精神和率意笔墨,即所谓“逸笔草草”。在元蒙统治时期,世祖忽必烈起初不愿启用汉人,尤其是南方文人,而后者也不愿为元蒙朝廷效力。结果,当时的士人阶层不得不断绝了入朝为仕的儒家传统梦想,

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