张先《十咏图》“语—图”关系研究

发布时间：2018-06-08 21:02

本文选题：十咏图 + 张先　；参考：《南京大学》2014年硕士论文

【摘要】：北宋著名词人张先根据其父张维的十首遗诗(本文称之为《十咏诗》),绘制了一幅写意山水画(后人称为《十咏图》),并将十首诗题写在画面上。该画受到后世文人珍藏,多位文人序跋题词,留下多方鉴藏款印。因此,经过历史积淀,《十咏图》这一图像文本因负载了大量文化信息而独具研究价值。本文从文学与图像的关系角度研究《十咏图》与作为其创作依据的《十咏诗》之关系、《十咏图》及其题跋之关系；从“语-图”关系角度,探讨在将语言符号转化成图像符号时二者互相模仿的特点和规律。论文主体分为四章。第一章是基础研究,主要对《十咏诗》进行语象分析,对《十咏图》进行图像分析,并将二者“对读”。《十咏诗》涉及的语象繁多,可以分为具体名词语象、抽象名词语象、动词形容词语象,并且每首诗都有一些关键语象,如六老会、庭鹤、孤帆、捣衣、赴举等,本文联系文化语境和其他诗歌对这些关键语象进行了解读。《十咏图》是一幅手卷,右幅主要描绘了南园集会,中幅和左幅主要描绘了自然山水,体现了写实和写意结合的风格特点。诗画对读是将《十咏图》右幅、中幅、左幅分别与相应诗句对读,发现画面表现了哪些,省略了哪些,增添了哪些。第二章是本研究的核心,主要从四个方面探讨《十咏诗》是如何转化成《十咏图》的。第一,“语-图”转化的方法,主要有落实语象,有删有减；化繁就简,保留符号；合并语象,生成新意；化虚为实,选择场景等。第二,“语-图”转化的层面,包括语象符号层、符号组合层、意境生成层。第三,“语-图”转化的规律,对南园集会的表现侧重精工细描,对吴兴山水的表现侧重意境营造,诗歌和绘画虽为不同艺术形式,但对文人情志的抒发这个情感基调是一致的。第四,“语-图”转化的价值,主要有三方面,在艺术价值上,诗歌流传,绘画精品；在文献价值上,保留墨迹,传承湖学；在文化价值上,诗画互动,文人传统。第三章是外围研究,探讨了《十咏图》及其题跋“语-图”关系,分析了《十咏图》与孙觉序、陈振孙跋、鲜于枢等三位元人题跋的“语-图”关系,后世在对这一图像文本接受过程中,赋予其新的含义。第四章是延伸研究,主要探讨《十咏图》与文人画范式的形成。宋元之际是中国绘画转型时期,文人画逐渐成为绘画主流,特别是出现了苏轼这样的诗书画大家,北宋初期的《十咏图》作为文人画的尝试,对文人画范式的形成别有意义。通过将《十咏图》与《睢阳五老图》、《西园雅集图》比较,突出其艺术特色；并分析《十咏图》对诗意画构图样式的影响。文人画对文人身份确立有着重要意义,这也是《十咏图》产生历史余响的原因,后世文人在观览《十咏图》时一次次经历审美和心灵的“诗之旅”。
[Abstract]:Zhang Xian, a famous poet in the Northern Song Dynasty, drew a freehand brushwork based on ten posthumous poems of his father Zhang Wei (this article is called "Ten Poems"), and wrote ten poems on the picture. The painting was collected by later literati, many literati preface and postscript words, leaving many seals. therefore Through the historical accumulation, the image text of "Ten Chronicles" has its own research value because it is loaded with a lot of cultural information. This paper studies "Ten Chronicles" from the angle of the relationship between literature and image and the "Ten Poems" as the basis for its creation. Relation, the relation of "Ten Chronicles" and its postscript; From the angle of "language-graph" relationship, this paper discusses the characteristics and rules of imitating each other when the linguistic symbols are transformed into image symbols. The main body of this paper is divided into four chapters. The first chapter is the basic research, mainly carries on the linguistic image analysis to the "Ten Poems", carries on the image analysis to the "Ten Poems", and "reads to read". The "Ten Poems" involve a variety of linguistic images, which can be divided into concrete noun word image and abstract noun word image. The verb describes the word image, and every poem has some key words, such as Siu Lao Hui, Ting-he, Gu Fan, pound clothes, go to hold, etc. This paper interprets these key words in relation to cultural context and other poems. < Ten Chronicles > is a hand scroll. The right picture mainly depicts the Nanyuan gathering, while the middle and left pictures mainly describe the natural landscape, which embodies the style characteristics of combining realistic and freehand brushwork. The second chapter is the core of this study, which shows what the picture shows, which is omitted, what is added, and the second chapter is the core of this study, the second chapter is the core of this study. This paper mainly discusses how "Ten Poems" is transformed into "Ten Poems" from four aspects. First, the transformation method of "language-picture" mainly includes implementing the image of language, deleting and subtracting, simplifying the complex, reserving the symbol, combining the image of language to produce the new meaning, turning the empty into reality, choosing the scene, and so on. Second, the transformation of language-map, including the linguistic image sign layer, symbol combination layer, artistic conception generation layer. Third, the law of the transformation of "language and figure", focusing on the performance of the Nanyuan gathering in fine detail, and on the performance of Wuxing landscape to create artistic conception, although poetry and painting are different artistic forms. But the expression of the literati emotional tone is consistent. Fourth, the value of the transformation of "language and figure" mainly includes three aspects: in terms of artistic value, poetry spread, fine painting; in the value of literature, preserving ink, inheriting the study of Lake; and in terms of cultural value, poetry and painting interact. The third chapter is a peripheral study, which discusses the relationship between "Ten Chronicles" and their "language and Picture", and analyzes the relationship between "language and Pictures" and Sun Chueh-preface, Chen Zhensun Ba, Xianyu-shu and other three Yuan Dynasty people, such as Sun Chueh-preface, Chen Zhen-su-ba and Xian-Yu-shu, etc. In the process of accepting this image text, later generations have given it a new meaning. The fourth chapter is an extended study, which mainly discusses the formation of "Ten Chronicles" and the paradigm of literati painting. During the transition period of Chinese painting in Song and Yuan dynasties, literati painting gradually became the mainstream of painting, especially the poetry, calligraphy and painting such as Su Shi. As an attempt of literati painting in the early Northern Song Dynasty, it is of special significance to form the paradigm of literati painting. By comparing the "Ten Chronicles" with the "five Old Pictures of Suiyang" and the "Xiyuan Ya Ji", it highlights its artistic characteristics, and analyzes the influence of "Ten Chronicles" on the poetic composition. Literati painting is of great significance to the establishment of literati identity, which is also the reason why the "Ten Chronicles" produced the historical afterlife. Later scholars experienced the "journey of poetry" of aesthetics and soul again and again when viewing the "Ten Chronicles".
【学位授予单位】：南京大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：I207.22;J212

【参考文献】