天下·天子·天理:论宋代院体画主题的三个维度  

Under Heaven,Emperor,and Heavenly Principles:the three dimensions of themes in Song Dynasty court paintings

作　　者：喻颖[1] YU Ying

机构地区：[1]华中师范大学美术学院,湖北武汉430079

出　　处：《东南大学学报（哲学社会科学版）》2024年第1期134-149,152,共17页Journal of Southeast University(Philosophy and Social Science)

基　　金：教育部人文社科基金青年项目“宋代绘画的意识形态研究”(19YJC760146);湖北省社科基金一般项目“中国古代艺术之线的审美范畴研究”(2019193)阶段性成果。

摘　　要：宋代院体画作为皇家扶持的绘画类型,其主题围绕“天下”“天子”和“天理”形成不同的维度;宋代院体山水画形成“山水-庙堂”的天下结构关系,其主题从“天人关系”的表象隐喻地指向“天下”;宋代院体人物画主题隐喻地指向“天子”,这一主题指向从“君与民”“君与臣”“君与君”三个层面展开;宋代院体花鸟画主题隐喻地指向“天”或“天理”,通过“以物观物”和“观之以理”的方式呈现。宋代院体画主题的三个维度对应形成一种“三位一体”的意识形态结构。As a painting genre supported by the royal court,Song Dynasty court paintings revolved around different levels concerning“Under Heaven”,“Emperor”and“Heavenly Principles”.The landscape paintings formed a hierarchical relationship of“court-landscape”.This reflects the structure of“Under Heaven”where the theme moved from the representation of“the relationship between heaven and humans”to metaphorically allude the allusion to “Under Heaven”.Meanwhile,the themes in the figure paintings metaphorically pointed towards the“Emperor”by delving into relationships across three levels:ruler and subjects,ruler and officials,and ruler and other rulers.Additionally,the themes in the flower-and-bird paintings metaphorically pointed towards the“Heaven”or“Heavenly Principles”,“presenting themselves through”“observing objects through objects”and“observing them through reason”.The three dimensions of themes correspondingly formed an ideological structure of a trinity.

关 键 词：宋代 院体画 天下 山水画 天理 

分 类 号：J212[艺术—美术] K244[历史地理—历史学]