中古波斯细密画与中国文化  

Medieval Persian Miniatures and Chinese Culture

作　　者：孟昭毅[1] 

机构地区：[1]天津师范大学,天津300387

出　　处：《江西师范大学学报（哲学社会科学版）》2017年第6期53-59,共7页Journal of Jiangxi Normal University(Philosophy and Social Sciences Edition)

基　　金：国家社科基金项目"比较文学主题学研究"(编号:12BWW007)

摘　　要：文学与图像很早就存在着密切的关系。波斯在中古时期,尤其细密画盛行时,文学作品中的插图很多颇有特色,并和中国文化产生了千丝万缕的联系。波斯细密画的形成主要受到了中国工笔画的影响。蒙元时期的蒙古大军将中国的宫廷画院体制及宫廷画风带到治下的波斯,并在细密画的绘画中表现出来。波斯人将中国工笔画的技艺杂糅于细密画的绘制中,形成了自己的传统。而作为文学插图的细密画从内容到形式接受了不少中国元素,它们不仅在波斯细密画中有充分的表现,而且被诸多细密画画派的画家所推崇并有意识地效仿。波斯细密画对中国文化这种有选择地借鉴,在接受中变异,在过滤中排异,也是文化艺术交流融合的一种普遍模式。There was a close relationship between literature and image long before. In medievaltimes, especially when the Persian miniatures were prevailed, illustrations in literary works were quitedistinctive, and have had the very complicated relation with the Chinese culture. The formation of thePersian miniature was mainly influenced by the Chinese elaborate - style painting. Mongolian army inthe Mongol - yuan period brought the Chinese palace painting system and the palace painting style toPersia under the rule, and the drawing style was showed in miniature painting. The Persians mixedChinese elaborate - style painting skills in the drawing of Persian miniatures, and formed their owntraditions. Persian miniatures as literary illustrations received many Chinese elements, which not onlywere fully manifested in Persian miniatures, but also were admired and consciously imitated by paintersof the meticulous painting school. The Persian miniatures selectively drew lessons from the Chineseculture, varied in acceptance, rejected in filtration, which was also a universal pattern of culturaland artistic exchange and integration.

关 键 词：中古 波斯细密画 中国文化 工笔画 

分 类 号：G04[文化科学]