审美与箴言之间:宋代《诗经图》视觉典范  

Between aesthetics and admonition:The visual paradigm of Song Dynasty's Illustrated Book of Songs

作　　者：桑盛荣 Sang Shengrong(Lu Xun School of Arts,Yan’an University)

机构地区：[1]延安大学鲁迅艺术学院

出　　处：《湖北美术学院学报》2025年第1期85-90,共6页Hubei Institute of fine Arts Journal

基　　金：陕西省社会科学基金项目“《诗经》与中国绘画的文学传统”,项目编号:2024J028。

摘　　要：《诗序》的权威性成为后世《诗经》王道政治的注脚。相同的,南宋《诗经图》以“左图右书”的图像体例,将“诗序”列于图像之首,因图像本身不可剔除的诱惑性亦构成了王化政教与个人喜好的双重空间想象。可以说,两者空间的博弈,在“诗序”与图像悖论的作用下,完成了个人审美与政治箴言的平衡。如此理路之中,南宋《诗经图》的视觉形制,是在“本我”的驱动下,在“超我”的政教规约中,对传统“王者无私”的突破,从而成为后世乾隆《御笔诗经图》制作中权力解读的参照系或者说样板。The authoritative status of the Preface to the Book of Songs became a foundational commentary for later interpretations of the Book of Songs through the lens of Confucian kingly governance.Similarly,the Southern Song Dynasty's Illustrated Book of Songs,structured in the"image-left,text-right"format,positioned Preface to the Book of Songs at the forefront of its visual narrative.The inherent allure of the imagery itself constructed a dual imaginative space—one shaped by the kingly political indoctrination and the other by personal aesthetic preferences.It can be argued that the interplay between these two spaces,mediated by the paradoxical relationship between Preface to the Book of Songs and the images,achieved a balance between individual aesthetics and political admonitions.Within this logical framework,the visual structure of the Southern Song Dynasty's Illustrated Book of Songs broke through the traditional notion of"the ruler’s selflessness"by navigating the tension between the"id"and the"superego".This innovation later served as a reference or template for decoding power narratives in making of Emperor Qianlong’s Imperial Illustrated Book of Songs.

关 键 词：《诗经图》 视觉形制 审美 箴言 

分 类 号：I207.22[文学—中国文学]