后桃源——林丰俗山水画的诗性空间  

Post Peach Blossom Spring:Poetic Space of Lin Fengsu's Landscape Painting

作　　者：张东[1] Zhang Dong

机构地区：[1]广州美术学院中国画学院

出　　处：《艺术与民俗》2024年第2期92-100,共9页Journal of Arts and Folklore

基　　金：2020年度广州市哲学社会科学规划项目“岭南画学的诗性话语建构研究”(项目编号:2020GZGJ309)的阶段性成果。

摘　　要：20世纪70年代,林丰俗的红色主题山水画作品在美术界产生广泛影响,此后其大量作品以“陶诗”的美学意识回归传统农耕话语母题,体现了具有“桃花源”意味的诗性语境。其营造的山水画精神空间是传统山水美学在当代的诠释,是作者的诗性意识在图像上的展现。“后桃源”作为一种诠释角度,与传统“桃花源”意象的审美意识都体现了对现实世俗的精神超越,但二者却存在本质差异。“后桃源”意象是对现实世界的重塑,是由实地材料转化而成的现实主义图式,虽然同样以“出世”的精神空间为寄寓处所,前者在社会学上体现的是封建社会中“避秦”政治想象下的“遁世”心理,后者是以“入世”的积极意义对现实世界进行“在场性”重塑。林丰俗“后桃源”式山水画的诗性空间,是诗学意识与图像语言在“时代性”语境下对传统“桃花源”意象的演绎。In the 1970s,Lin Fengsu's red-themed landscape paintings greatly infuenced the art world.After that,many of his works returned to traditional agricultural themes with an aesthetic consciousness reminiscent of Tao Yuanming's poetry,reflecting a poetic context imbued with the connotation of"Peach Blossom Spring".The spiritual space created by his landscape paintings is an interpretation of traditional landscape in contemporary times and an expression of the author's poetic consciousness in visual form."Post Peach Blossom Spring,as an interpretive perspective,differs profoundly from the traditional aesthetics of the"Peach Blossom Spring"imagery:they both transcend the mundane world,yet"Post Peach Blossom Spring"imagery represents a reshaping of the present reality,generated from real sites that are transformed into a realistic picture.Although both find their abode in a spiritual space of"otherworldliness",the former embodies the"reclusive"psyche under the imagined"escaping from Qin"in a feudal society,while the latter represents a positive reshaping of the present reality with an"engaging"approach.Lin Fengsu's poetic space in the"Post Peach Blossom Spring"landscape painting is an interpretation of the traditional"Peach Blossom Spring""imagery through the lens of poetic consciousness and visual language within the context of"contemporaneity".

关 键 词：林丰俗 后桃源 诗性 

分 类 号：J222.7[艺术—美术]