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《艮泉图咏》记录了嘉庆末年(1814年至1815年间),寓居广东广州、江西南昌、江苏苏州等地的五十位文人,为广东顺德人黎应钟的艮泉别业绘图题咏的雅事,生动地呈现了19世纪初一次跨越时间和空间的书画雅集。本文试图通过剖析其产生之过程,发掘其历史物质性,还原这些图像和文字产生及传播的本貌,重构其时跨地域文人(包括画人、诗人、仕人等)书画交游的情景。黎应钟以颂赞艮泉这一主题征画索题,使几地文人诗文、书画的风格特点和差异立现。围绕12幅风格各异的画作,本文进一步探讨不同地域的画风差异及其相互影响。尽管这次雅集将岭南文艺向省外传播,并使岭外文艺向南推介,但是岭南画人的影响力仍主要局限于本地。
“Genquan Figure Wing” records the last year of Jiaqing (1814 to 1815), living in Guangzhou, Guangdong, Nanchang, Jiangxi, Jiangsu and other places of the fifty literati, Shunde, Guangdong, Things vividly presented the first nineteenth century painting and calligraphy that spanned time and space. This paper tries to find out its historical materiality by analyzing the process of its emergence, restoring the appearance of these images and texts, and reconstructing the painting and calligraphy exchanges of the trans-regional literati (including the painters, poets and officials). Li Yingzong to praise praise Genquan the theme of this painting, so that several poets, calligraphy and painting style characteristics and differences stand now. Focusing on 12 paintings with different styles, this article further explores the differences in painting styles and their mutual influence in different regions. Although this time, the art fair spread Lingnan literature and art to the outside world and introduced Lingnan literature and art southward. However, the influence of Lingnan painters was still largely confined to the local area.