明清桃源主题图像的空间建构  

The Spatial Construction of Taoyuan Theme Image in Ming and Qing Dynasties

作　　者：孔翎[1] KONG Ling(Academy of Fine Arts,Nanjing Xiaozhuang University,Nanjing,Jiangsu 211171)

机构地区：[1]南京晓庄学院美术学院,江苏南京211171

出　　处：《艺术百家》2023年第6期123-128,共6页Hundred Schools In Arts

摘　　要：桃源是中国传统文化里不断被描写、塑造的理想仙境。文本中具有视觉化的场景描写使得桃源空间清晰有序。根据不同文本的流传,桃源主题主要分为天台桃源与武陵桃源,分别指向两种类型的空间模式,即神仙山水模式与田园隐居模式。武陵桃源是最典型的桃源空间。武陵桃源的空间建构主要依据陶渊明的《桃花源记》,其中虚构了一个象征小型农耕社会的避世仙境,涵盖桃林胜景和田园家居两类景观,其空间是“深”而“隐”的典型壶天模式。桃源图承续文本中的空间建构,成为明清绘画的一个重要主题。Taoyuan is an ideal wonderland that is constantly described and shaped in the Chinese traditional culture.The visual description of the scene in the text makes the space clear and orderly.According to the spread of different texts,the theme of Taoyuan is mainly divided into Tiantai Taoyuan and Wuling Taoyuan,which respectively point to two types of spatial modes:Fairy landscape mode and pastoral seclusion mode.Among them,Wuling Taoyuan has be-come the most typical Taoyuan space.The spatial construction of Wuling Taoyuan is mainly based on Tao Yuanming's Peach Blossom Land.This text imagins an escapist wonderland symbolizing a small farming society,covering two types of peach forest landscape and pastoral home landscape,whose space is a typical model of"deep"and"hid-den".The Taoyuan painting continued the spatial construction in the text and became an important theme in the painting of Mingand Qing Dynasties.

关 键 词：明清山水画 桃源主题图像 绘画空间 

分 类 号：J802[艺术—戏剧戏曲]