宋元山水画跋中“追忆性”题咏的文化初探  

Cultural Exploration of Reminiscence Inscriptions in Landscape Painting Postscripts During the Song and Yuan Dynasties

作　　者：左雯倩 李倍雷[1] ZUO Wenqian;LI Beilei(Academy of Art,Southeast University,Nanjing 211102,China)

机构地区：[1]东南大学艺术学院,南京211102

出　　处：《合肥大学学报》2025年第1期133-137,144,共6页Journal of Hefei University

基　　金：国家社会科学艺术学项目重点课题“基于二十四史《隐逸传》的传统艺术隐逸主题体系研究”(24AA003)。

摘　　要：据书画著录所载,宋元时期山水图卷中留存着大量“追忆旧游”主题之画跋,它们既是个体审美情绪的兴发,也是群体艺术经验的延续,具有鲜明“互文性”特征。此时卧游观念之风行与“图真”理想的成熟也促使观者开始有意识地记载“思与境偕”的观画体验,这为感怀忆旧的画跋创作范式之形成提供了重要的画史依据。随着画家将个人对时命的体认融入创作之中,绘画成为了他们寄寓思想精神、书写生命经验的重要载体,而后世观者在观画感怀中突破对个体生命的考量,进一步印证了绘画艺术“立言不朽”的意义。According to historical records,a significant number of landscape painting postscripts in Song and Yuan dynasties focused on the theme of“recalling past journeys”,which not only reflect individual aesthetic sentiments but also represent the collective continuation of artistic experience.These postscripts exhibit distinctive“intertextuality”characteristics.The widespread practice of“traveling through paintings”and the maturity of the“true depiction”ideal during this period encouraged people consciously write the extreme experience of“subject-object unity”when viewing the painting.This practice gradually formed a creative paradigm for nostalgic inscriptions.As painters integrated their personal reflections on life into their creations,paintings became an important carrier to convey painters' spirits and record life experiences.Subsequent viewers,in turn,transcended individual considerations during their engagement with the paintings,which confirmed the significance of paintings to carry eternal life.

关 键 词：山水画 追忆性画跋 诗画合璧 生命观 

分 类 号：J205[艺术—美术]