汉唐图像叙事与帝国书写

Image Narration and Empire Writing in the Han and Tang Dynasties

图像叙事介乎传记与颂赞之间,而兼得其用。汉唐两朝的帝国书写在图像叙事方面的呈现,其中的历史与现实、建德与立威,以及图示兴亡的选择与困境,具有典范的意义。聚焦汉唐图像,突出于"功臣""列女""孝子"以及"经义"诸端,其中如汉代的《泗水捞鼎图》与唐代的《王会图》则从"祥瑞"与"朝贡"两个方面为其统治的"一王法"做出了典型的诠释。而从汉代的《周公辅成王图》到唐代的《无逸图》表现出的由实用的政教向经义化的政教的变迁,从汉代的《天马图》到唐代的"山水图"引起的反思所表现的帝国戒奢尚俭的治安政略,具有图绘史与文化史的双重意义与价值。

Image narration lies between biography and panegyric,but it combines both functions.The presentation of the imperial writing in the aspect of image narration in the Han and Tang Dynasties is of exemplary significance in terms of history and reality,morality and prestige,as well as the choice and dilemma of the rise and fall of figures.The images of the Han and Tang Dynasties focus on meritorious officials,famous women,dutiful sons and Confucian classics argumentation.Among them,The Painting of Catching Tripod in Sishui of the Han Dynasty and The Painting of National Gatherings of the Tang Dynasty are two typical illustrations of the unified system from two aspects of auspiciousness and tribute.From The Painting of Duke Zhou Assisting the Emperor Cheng in the Han Dynasty to The Painting of No Coveting Comfort in the Tang Dynasty,the change from practical political edification to that of Confucian classics is apparent.The reflection inspired from Map of Magic Horse in the Han Dynasty to the"landscape paintings"in the Tang Dynasty shows the statecraft of the Empire featuring frugality and luxury-suppression.Both works have double significance and value in the history of drawing and culture.