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作 者:任仕东 Ren Shidong(School of Art,Southeast University;the Chinese Nation Visual Image Research Base,Southeast University)
机构地区:[1]东南大学艺术学院 [2]东南大学中华民族视觉形象研究基地
出 处:《美术》2024年第12期10-17,共8页Art Magazine
基 金:江苏高校哲学社会科学研究重大项目《英藏中国画〈女史箴图〉在西方的知识生成研究》(项目编号:2024SJZD107)的阶段性研究成果。
摘 要:传顾恺之《女史箴图》在20世纪初入藏大英博物馆的短短几年内,迅速引起欧洲学者的关注和研究。经过宾雍、翟理斯、沙畹等多方接力,将中国卷轴画史的开端“顾恺之与《女史箴图》”形象,从朦胧到明朗、由直觉到理性地首次展示在西方国际舞台上。艺术汉学家的知识生成与积累过程表明,在认知谱系上,其存在历史、图像、文学三个认知维度。人物传记及绘画理念的寻绎加深了时代背景的认识,画卷内容与题跋、钤印构成了中国画的形式审美,箴文的阐释固定了图像的意涵。在研究方法上,他们从实物与文本出发,考察具有“物”的属性的图像与固有知识的关系,在既有相互影响亦有各自特殊关注面的研究模式中,逐步朝着正确的认知方向运行。Gu Kaizhi’s Admonitions of the Instructress to the Court Ladies attracted the attention of European scholars who carried out research on it in the short few years after it was collected by the British Museum in the early 20th Century.Thanks to the efforts of Laurence Binyon,Herbert Giles andÉdouard Chavannes,“Gu Kaizhi and the Admonitions of the Instructress to the Court Ladies”,the beginning of the Chinese scroll painting history,was presented from hazy to clear and from intuitive to rational on western international stage for the first time.The knowledge generation and accumulation of art sinologists showed that there were three dimensions in cognitive spectrum,namely history,image and literature.The exploration of biography and painting concepts deepened their understanding of the social background back then;the content,preface,postscript and seal constituted formal aesthetics of the Chinese painting;and the interpretation of admonitions determined the meaning of the painting.In terms of how they carried out research,they examined the relationship between images as“objects”and knowledge on the basis of the painting and texts,and gradually walked in a correct cognitive direction within a research model that influenced each other while having their own focuses.
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