中国传统山水画中的隐喻母题和隐逸主题  

The Metaphorical Motif and Secluded Theme in Traditional Chinese Landscape Painting

作　　者：赫云[1] He Yun

机构地区：[1]东南大学艺术学院,江苏南京211189

出　　处：《艺术探索》2021年第6期6-11,共6页Arts Exploration

基　　金：2020年度教育部人文社科课题“中国传统艺术母题学与主题学理论和方法建构研究”(20YJA760022)。

摘　　要：中国山水画固然形态、风格众多,图像母题却是解读与阐释山水画主题的重要依据。如渔父、樵夫、蓧杖人等核心母题,具有隐喻性的特征,所呈现的是隐逸主题。不同的母题(母题意象)组合,可能显现不一样的隐逸主题。母题的"在场"以及主题的"出场",在不同时空的认知域场中有不同的结构与方式。有些母题可能是原隐喻的转喻,也是隐逸叙事的主题表达,如渔船、岩穴、茅舍、孤松等,同时还是认定隐者身份的辅助性母题。因而,核心母题与辅助性母题的配置、结构和逻辑关联,共同形成山水画的隐逸主题。Although Chinese landscape painting may be subdivided in numerous forms and styles,graphic motifs are important to the interpretation and explanation of a painting’s main idea.The core motifs such as‘the fisherman’,‘the woodcutter’,or‘the ploughman’are in fact metaphorical expressions of seclusion.Different combinations of motifs(motif images)may reveal different reclusive themes.The motif’s‘presence’and the theme’s‘appearance’rely upon different expressive structures and methods within different cognitive realms of time and space.Some motifs may be metonymies of an original metaphor and thus function as a secluded narrative,such as fishing boats,caves,huts,or lone pines.At the same time,such elements may also serve as auxiliary motifs to identify the hermits.Therefore,the configuration,structure,and logical connection of the core and auxiliary motifs function together in forming the secluded narrative in Chinese landscape painting.

关 键 词：母题 主题 隐逸 隐喻 山水画 

分 类 号：J212[艺术—美术]