无锡莫氏与《惠阳壮游图》《罗浮春色图》考析  

A Study on the Mo Family of Wuxi and the Paintings “Huiyang Grand Tour” and“Spring Scenery of Luofu Mountain”

作　　者：车旭东 Che Xudong

机构地区：[1]南京大学历史学院,江苏南京210033

出　　处：《文博学刊》2024年第3期97-107,共11页Journal of Archaeology and Museology

摘　　要：明代王问的《惠阳壮游图》卷和俞泰的《罗浮春色图》册均为送别无锡举人莫同前往广东惠州任职而作。考察地方志以及邵宝等人文集,可大致勾勒出无锡莫氏家族的轮廓。莫氏与本地名流和大家族交游、联姻,在诸方面结成了理念共通的文化共同体,成为明中叶无锡地域文艺传承的一条主脉。送别诗画是体现他们交游与文艺观念最有代表性的载体之一,《惠阳壮游图》《罗浮春色图》沿用了“江岸送别”的传统图式但略有改动,表现了即时和预先创作的不同情境,是明代送别图征求与制作的典型模式。The Ming dynasty artworks“Huiyang Grand Tour”scroll by Wang Wen and“Spring Scenery of Luofu Mountain”album by Yu Tai were both created to bid farewell to Wuxi Juren Mo Tong as he went to assume office in Huizhou,Guangdong.By examining local chronicles and the anthologies of Shao Bao and others,we can roughly outline the profile of the Mo Family of Wuxi.The Mo family made friends and married with local celebrities and prominent families,forming a cultural aristocratic community with common concepts in various aspects,which became a mainstream context for the transmission of Wuxi regional literature and art during the mid-Ming dynasty.Farewell poetry and painting were among the most representative media reflecting their interactions and artistic concepts.The two paintings adopted the traditional illustration of“farewell at the riverbank”with slight modifications,representing both scenarios of immediate and planned creation.This was a common mode for soliciting and producing farewell paintings in the Ming dynasty.

关 键 词：惠阳壮游图 罗浮春色图 无锡莫氏 送别图 

分 类 号：K879.4[历史地理—考古学及博物馆学]