论元明清时期灵璧奇石文化的新发展  

Study on Lingbi Stone Culture During the Yuan,Ming,and Qing Dynasties

作　　者：朱曙辉[1] ZHU Shuhui(School of Literature and Communication,Suzhou University,Suzhou 234000,China)

机构地区：[1]宿州学院文学与传媒学院,安徽宿州234000

出　　处：《宿州学院学报》2025年第1期1-5,22,共6页Journal of Suzhou University

基　　金：安徽省社会科学创新发展研究课题攻关研究项目(2021CX135);宿州学院重点科研项目(2019yzd15);高校优秀青年骨干教师国内访问研修项目(gxgnfx2022076)。

摘　　要：为探析灵璧奇石文化的发展演变轨迹,采用社会历史研究法,对宋代之后灵璧奇石文化的新变化进行研究。据考证:在元明清时期,灵璧奇石文化在继承宋代的基础上继续发展演变。这种新变主要体现在三个方面:古玩化,通过与历史人物的互动来承载特定的文化信息,凸显其历史文化属性;实用化,改造为砚山、笔格、悬磬等实用性器具,实现审美属性与工具属性的融汇;通过绘画和盆景的形式来拓展审美路径。这些新发展使灵璧奇石文化得以在宋代建构的观赏石文化之外,另辟新天地,建构出更加丰富多元的文化内涵与生存路径。In order to explore the development and evolution of Lingbi Stone culture,the new changes of Lingbi Stone culture after the Song Dynasty were studied by using the social history research method.According to research,during the Yuan,Ming,and Qing Dynasties,the Lingbi Stone culture continued to develop and evolve on the basis of inheriting the Song Dynasty.These new changes are mainly reflected in three aspects:firstly,it is regarded as an antique;its historical and cultural attributes were emphasized by means of interaction with historical figures which gives specific cultural information;secondly,it is transformed to be some practical tools such as inkstones,pen frames,and hanging chimes,and achieve the fusion of aesthetic and instrumental attributes;thirdly,the aesthetic path is expanded through painting and bonsai forms.These new developments have enabled Lingbi Stone culture to open up a new area beyond to the ornamental stone culture built in the Song Dynasty,and build a more diversified cultural connotation and survival path.

关 键 词：灵璧奇石 元明清 古玩 实用器 绘画 盆景 

分 类 号：G217[文化科学—新闻学]