从“潇湘八景图”到“纪游图”——中国绘画史上一个关于画意转换的案例

From “Eight Views of The Xiao and xiang rivers”to recording and traveling painting”---a case about the transformmation of the painting sense in Chinese painting history

"潇湘八景图"最初是北宋画家宋迪作为表达其政治隐情的无声诗而作,并不具有实景特征。在它流传过程中画意不断被误读,在元代吴镇眼里,它被视为描绘当地风景名胜类型的山水画,其笔下的《嘉禾八景》,成为一种表现当地风景名胜类型的"八景图"。这一类型的山水画经明代画家沈周的融合,产生出纪游图类型的山水画。八景图虽然经误读与转换发展成为纪游图,但后者并未完全取代前者。二者转换后又各自发展,不过,此后八景图已沦为一种程式,纪游图也逐渐走向更具实用性和功能性的旅游图册了。

'Eight Views of The Xiao and xiang rivers'was originally painted by a painternamed Song Di of Song dynasty. However, he created it just want to express something in politics, so, no liveaction was included. In its process of spreading, the intention has been misunderstood. In the view of Wu Zhen, a painterof Yuan dynasty, the picture was described as a landscape painting which can express the local scenic spots. Wu has drawn a painting named 'Eight scenes in Jiahe', which has become a 'Eight scenes in Jiahe'indicated the local scenic spots.This kind of painting was fused by Shen Zhou, a painterin Ming dynasty and he created a recording and traveling landscape. Though eight scenes was misunderstood and become recording and traveling painting, however, the latterdid not replace the former. The two kinds of paintings developed respectively aftertransforming. Eight scenes have become a patter, and recording and traveling painting have gradually become a practical and functional tourism atlas later.