性别·空间·绘画——《红楼梦》中的四幅美人画  

Sexual,Space and Painting:On Four Beauty Paintings in A Dream of Red Mansions

作　　者：王怀义 Wang Huaiyi

机构地区：[1]武汉大学文学院

出　　处：《中国文化研究》2021年第2期83-94,共12页Chinese Culture Research

基　　金：国家社科基金后期资助项目“《红楼梦》文本图像渊源考论”(2018FZW001)的阶段性成果。

摘　　要：在明清美人画创作兴盛环境的影响下,《红楼梦》中也出现了此类画作,其中四幅具有典型性:秦可卿房间中的《海棠春睡图》、贾母房间中的《艳雪图》以及宁国府小书房和怡红院中的两幅美人图。按照悬挂空间性别的不同,这四幅美人画可分为两组。高居翰从明清时期此类绘画的技法、功能等角度指出它们具有的不同隐喻性内涵。此类画作中美人形象内涵的矛盾性,这四幅美人画所属空间性质的差异,及其与《红楼梦》对居住空间描写的性别互渗现象相结合等,使其内涵、功能变得复杂、多样。这两组美人画,与唐寅、仇英等人创作的传统美人画和清宫廷焦秉贞、冷枚等人吸收西画技法所创作的美人画,有某种呼应关系,成为中西艺术交流过程中的重要一环。Under the influence of the prosperous environment of beauty painting in the Ming and Qing dynasties,such paintings also appeared in A Dream of Red Mansions(Honglou Meng红楼梦).Four of them are typical:the painting named Haitang Chunshui(海棠春睡图)in Qin Keqing(秦可卿)’s bedroom,painting named Yauxue(艳雪图)in Jia Mu(贾母)’s room,and two beauty paintings in the small study of Ningguo Mansion and Yihong Courtyard.According to the gender of the hanging space,the four paintings can be divided into two groups.James Cahill pointed out the different metaphorical connotations of these paintings in terms of their techniques and functions in the Ming and Qing dynasties.The contradictions in the connotation of the images of the beauties in these paintings,the differences in the spatial nature of the four beauties,and their combination with the sexual interpenetration in the description of the residential space in A Dream of Red Mansions,etc.make its connotation,function complex,diverse.These two groups of paintings of beauties have a certain relationship with the traditional paintings of beauties by Tang Yin(唐寅),Qiu Ying(仇英)and others,and the paintings of beauties by Jiao Bingzhen(焦秉贞),Leng Mei(冷枚)and others who absorbed the techniques of western painting,who became an important link in the process of art exchange between China and the West.

关 键 词：红楼梦 美人画 空间特征 性别互渗 中西交流 

分 类 号：I207.41[文学—中国文学]