“我辈复登临”:吴门赤壁登临图的叙事反叛及其意义世界  

“My Friends and I Now in Our Turn Ascending to the Height”:the Narrative Rebellion and Significance of Ascending Red Cliff Paintings by the Wu School

作　　者：王一楠 WANG Yi-nan(Institute of Fine Arts,Chinese National Academy of Arts,Beijing 100012)

机构地区：[1]中国艺术研究院艺术学研究所,北京100012

出　　处：《艺术百家》2024年第2期122-131,共10页Hundred Schools In Arts

基　　金：2022年度国家社科基金艺术学青年项目“宋元明清文人艺术中的苏轼图像研究”(项目编号:22CF179)阶段性成果之一。

摘　　要：吴门画派的赤壁登临图不仅呼应着苏轼的《后赤壁赋》书写,而且触通着自魏晋以来绵延不绝的登临文化传统。不同于此前受乔仲常、文徵明形塑的图像叙事方式,朱朗、钱榖、蒋乾、文嘉、张瑞图、吴士冠等人的赤壁登临图探索了“环形空间叙事”的新范式,并非前人认定的僵化与衰落;其图像表现,亦非对行旅经验的直接搬摹,而是来自对生命本质状态的体认。在艺术史与艺术哲学的双重视野中,本文重估此前未受重视的吴门赤壁登临图,以期阐明其图像来源、叙事创新及体现着中国文化之延续性的人文意识。The paintings of ascending Red Cliff by the Wu School not only echo the writing of Su Shi's“The second Red Cliff Ode”,but also connects with the long-standing tradition of ascending to heights since the Wei and Jin dynasties.Different from the previous narrative image pattern shaped by Qiao Zhongchang and Wen Zhengming,Zhu Lang,Qian Gu,Jiang Qian,Wen Jia,Zhang Ruitu,Wu Shiguan and others explored a new paradigm called“Circular Spatial Narrative”in their paintings,which was not that hidebound as previously believed.Their representations were not copies of their travel experiences,but came from the recognition of the essential state of life.This article reassesses the Ascending Red Cliff Paintings by the Wu School,from the dual perspectives of art history and art philosophy,aiming to clarify their image sources,narrative innovations,and the humanistic consciousness reflecting the continuity of Chinese culture.

关 键 词：赤壁图 吴门画派 叙事画 诗意画 文人画 

分 类 号：J20[艺术—美术]