图写胜迹的理性限度:孙枝《西湖纪胜图》研究  

Depicting Scenic Spots of the Rational Limits:A Study of Sun Zhi's Illustrated Records of Famous Sights at West Lake

作　　者：李子怡 Li Ziyi

机构地区：[1]中国美术学院艺术人文学院

出　　处：《美术观察》2025年第4期31-42,共12页Art Observation

摘　　要：《西湖纪胜图》是晚明吴门画家孙枝所绘山水册页,其中描绘了十四处西湖环线的人文胜迹,结合同时期纪游文学与纪游绘画,为管窥晚明时期的西湖景观面貌与游览路线提供了具体视野。《西湖纪胜图》诞生于文士与大众的动态区隔之间,在景观采撷上受到文士阶层玩古趣味的牵引,在价值指向方面却与吴门画派早期纪游图呈现出的抒情寄兴特征具有明显差异。通过这套图像可以直观地看到晚明时期的视觉文本如何在保留文人雅趣的同时再现景观特征与游览次序,借此引出美术史上的一项经典议题,即画家在观看和创作之间的加工过程是如何运作的。Sun Zhi's Illustrated Records of Famous Sights at West Lake,an album of landscape paintings by the late Ming Dynasty artist from the Wumen School,depicts fourteen cultural and scenic spots around the West Lake circuit.By combining contemporary travel literature and travel paintings,it provides a concrete perspective on the landscape and travel routes of West Lake during the late Ming period.The Illustrated Records of Famous Sights at West Lake was created amid the dynamic separation between scholars and the general public.While the selection of landscapes was influenced by the scholars'interest in antiquities,its value orientation significantly differs from the lyrical and emotional characteristics presented in the early itinerary illustrations of the Wumen School.Through this set of images,one can clearly see how late Ming visual texts retained the elegance of literati while simultaneously recreating landscape features and travel sequences.This leads to a classic issue in art history:the process by which an artist mediates between observation and creation.

关 键 词：孙枝《西湖纪胜图》 明代纪游图 玩古趣味 

分 类 号：J212[艺术—美术]