论宋明间三部画谱图文关系的变迁——兼及画谱范围的界定

On the Changes of the Relationship among Three Picture Copybooks from Song to Ming Dynasties---Together with the Limitation of the Range of Picture Copybook

本文以南宋至明嘉靖间刊行的《梅花喜神谱》、《竹谱详录》与《高松菊谱》三部具有阶段代表性的画谱为讨论中心,探讨书籍插图逐步摆脱书籍图文编排版式,而接受绘画②形式的演变过程,在此过程中,插图的审美价值与范本价值越来越受到重视,最终出现了以传授绘画知识与技法,或提供欣赏与临摹为目标的画谱。画谱对文人绘画的复制方式刺激了其他书籍插图在创作方式和美学标准上的仿效,这些书籍插图因而与画谱具有同样的欣赏与范本价值,而这恰恰是画谱范围界定困难重重的原因所在。

Taking the three periodic representative picture copybooks, Picture Copybook of Plum(Mei Hua Xi Shen Pu), Picture Copybook of Bamboo(Zhu Pu Xiang Lu),and Tall Pine and Chrysanthemum(Gao Song Ju Pu),published from the South Song to Jiajing Period in Ming as the focus of discussion, this thesis discusses the evolving process of book illustration breaking through the format of images and texts in books and accepting painting form. In this process, the aesthetic and copy value of book illustration got more and more emphasized, and finally picture copybooks aiming at teaching painting knowledge and technique and providing appreciation and copy emerged. The copy ways of picture copybooks to literati painting inspired other book illustrations to imitate on creation methods and aesthetic standards. These book illustrations had the same value of appreciation and copy as picture copybook, and this was just where the difficulty lies in limiting the range of picture copybooks.