“一叶为家万虑空”:宋高宗题跋渔隐山水小景及其政治表达  

Postscript by Emperor Gaozong of Song Dynasty on a Fishing Hermit Shanshui Picture and Its Political Expression

作　　者：李云蔚 Li Yunwei

机构地区：[1]东南大学艺术学院,江苏南京211102

出　　处：《南京艺术学院学报（美术与设计）》2024年第6期43-50,I0002,共9页Journal of Nanjing University of The Arts:Fine Arts & Design

基　　金：国家社科基金艺术学一般项目《宋代图像与文学关系研究》(17BA009)阶段性研究成果。

摘　　要：一批出自宋高宗画院,表现烟雨朦胧、孤舟闲钓景致的佚名渔隐山水小景长期为研究者忽略。炎兴之交,高宗将暗藏议和决心的御制《渔父词》赠予近臣辛永宗,《蓬窗睡起图》等画作则是在和议告成后对词作的回应。结合此期复杂的君臣关系及院画生产流通情况分析,渔隐小景中暗含赵构塑造帝王形象、渲染和议政策的意图。A batch of anonymous fishing hermit shanshui paintings from the Painting Academy of Song Gaozong,depicting misty rain and leisurely fishing in solitary boats,have long been overlooked by researchers.At the turn of the Yanxing period,Emperor Gaozong gifted his courtier Xin Yongzong with the imperial made Yu Fu Ci(Fisherman’s Poem)that contained a hidden determination to negotiate peace.Paintings such as Peng Chuang Shui Qi Tu(Waking under the Canopy Window)were responses to the poem after the peace negotiations were concluded.Based on the analysis of the complex relationship between monarchs and ministers and the production and circulation of academy paintings in this period,it can be inferred that Zhao Gou’s intention to shape his image as an emperor,render and discuss policies is implied in the scenes of fishing hermit.

关 键 词：宋高宗 南宋院画 渔隐 画上题跋 政治表达 

分 类 号：J209[艺术—美术]