元代文人画中的“隐喻”表达

The Expression of "Metaphor" in the Literati Paintings in Yuan Dynasty

"隐喻"的方式是中国古代绘画表达的方式之一。究其因,与特定时期的政治环境和文人士大夫的才情相关。无论中文语境还是符号学中的"隐喻",都是利用被描写事物的典型特点,用其他事物或隐喻符来代替被描写事物。换句话说,就是用新的事物把原本的事物"隐藏"起来。隐喻代表着最高、最抽象的象征性。元代是中国历史上第一个由少数民族统治的朝代,由宋入元的士人从处境到心境上都发生了重大变化,由于种种原因,文人常常间接表达自己的想法与情绪。这使得元代文人画成为一个充满"隐喻"的世界。与中国古代绘画中的较为稳定的仁政"隐喻"和风格"隐喻"等基本模式不同的是:元代文人画的隐喻更多体现在文人于易代之际在失国之痛、国家治理、文人自身际遇以及对佛道观念的接纳等方面。"隐喻"的方式使得元代文人画成为文人感悟生活、政治表达和宗教表达的工具。

'Metaphor' is one of the expression ways in the ancient Chinese painting. The reason is related to the political environment and the literati's talent in specific period. Both the 'metaphors' in Chinese context and in semiotics are replacing the described things with otherthings ormetaphoric signs by taking use of the typical characteristics of them. In otherwords, it is to 'hide' the original things by the new things. Metaphorrepresents the highest and most abstract symbolism. The Yuan Dynasty was the first dynasty ruled by a minority nation in Chinese history, the situation and the mood of the literati lived from Song to Yuan changed a lot. Forvarious reasons, these literati often expressed theirthoughts and emotions indirectly. This made the literati painting in Yuan a world full of 'metaphors'. Different from the basic models of the relatively stable benevolent 'metaphor' and style 'metaphor' in ancient Chinese painting: the metaphorin literati paintings in Yuan ref lected more in literati's pain of losing theircountry, national governance,theirown fortune, and theiracceptance to Buddhism and Taoism when they meet the change of the dynasties. The way of 'metaphor' made the literati painting in Yuan a tool forthe literati forlife comprehension, political expression and religious expression.