从“大家”到“小家”——两宋以来“文姬归汉”图式的生成与流变  

From“Everyone”to“Little Family”:The Formation and Evolution of the Schema of“Wen Ji Returns to Han”Since the Song Dynasty

作　　者：刘康康 张红梅[1] Liu Kangkang;Zhang Hongmei(Jilin University of Arts,Changchun 130012,China)

机构地区：[1]吉林艺术学院,长春130012

出　　处：《艺术与设计（理论版）》2024年第9期119-123,共5页Art and Design

摘　　要：历来“文姬归汉”图像流布甚广,尤其南宋至清代这一阶段“文姬归汉”图像在社会、经济文化等多种因素影响下繁盛发展。文章以图式的视角切入,以李唐所作图像为范本,将以后的图像分为仿制、变异、简化等三种图式,并着重分析“文姬归汉”图像中的核心元素,旨在研究历代图式之间的变与不变。由此,引出图式繁荣发展背景下,“文姬归汉”图式在世人态度变化影响下用途的变化,以求更全面多维地评价叙事画中女性图像种类之一的“文姬归汉”图式发展的丰富性与复杂性。The image of"Wen Ji returning to the Han"has always been widely circulated.Especially in the period from the Southern Song Dynasty to the Qing Dynasty,the image of"Wen Ji returning to the Han"flourished and developed under the influence of various factors such as social,economic and cultural factors.The article cuts through the perspective of schematics,using the images created by Li Tang as a model,and divides future images into three schemas:imitation,variation,and simplification,and focuses on analyzing the core elements in the image of"Wen Ji Returns to the Han"in order to Study the changes and changes in schemata through the ages.From this,under the background of the prosperity and development of the schema,the changes in the use of the"Wen Ji Returns to the Han"schema under the influence of changes in people's attitudes are introduced,in order to more comprehensively and multi-dimensionally evaluate"Wen Ji Returns to the Han',one of the types of female images in narrative paintings."The richness and complexity of schema development.

关 键 词：文姬归汉 女性图像 图式 家国情怀 美人画 

分 类 号：J0[艺术—艺术理论]