从“隐喻”母题到“隐逸”主题——以《二十四史·隐逸列传》为分析路径  

From“Metaphor”Motif to“Seclusion”Theme:Taking The Secret Biography of The Twenty-four Histories as An Analysis Path

作　　者：赫云[1] HE Yun(School of Art,Southeast University,Nanjing,Jiangsu 211189)

机构地区：[1]东南大学艺术学院,江苏南京211189

出　　处：《艺术百家》2024年第2期107-114,共8页Hundred Schools In Arts

基　　金：2020年度教育部人文社会科学研究项目“中国传统艺术母题学与主题学理论和方法建构研究”(项目编号:20YJA760022)阶段性成果之一。

摘　　要：《二十四史·隐逸列传》是分析中国传统山水画“隐逸”主题的重要文献。尽管山水画的形态、风格固然众多,但图像的母题却是解读和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,具有隐喻性的文化特征,指向了隐逸主题。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,在不同时空的认知场域中有不同的结构与方式。有些母题可能是原隐喻的转喻,既是隐逸叙事的主题表达的依据,也是认定隐士身份的辅助性母题,如渔船、岩穴、茅舍、枯松、童子等母题。因而,核心母题与辅助性母题的配置与逻辑结构,构成山水画的隐逸主题。The Secret Biography of The Twenty-four Histories is an important document analyzing the theme of seclusion in traditional Chinese landscape painting.Although there are many forms and styles of landscape painting,the“motif”of images is an important basis for interpreting and explaining the theme of landscape painting.The core motifs such as Fishing Father,Woodcutter and Shinohata People have the cultural characteristics of“metaphor”and point to the theme of “seclusion”Different motif(motif image)combinations may show different seclusion themes.The presence of the motif and the appearance of the theme have different structures and ways in the“cognitive field”of different time and space.Some motifs may be metonymy of the original“metaphor”,which is not only the basis for the expression of the theme of the recluse narrative,but also the auxiliary motifs for identifying the identity of hermit.Such as fishing boat,rock cave,cottage,dry pine,boy and other motifs.Therefore,the configuration and logical structure of the core motif and auxiliary motif constitute the hidden theme of landscape painting.

关 键 词：母题 主题 隐逸 隐喻 山水画 

分 类 号：J20[艺术—美术]