唐代诗画中的长安意象

The Image of Chang'an in Tang Poetry and Painting

从本质上来看,绘画其实是一种文化想象,是一种表达、建构或象征环境的特殊方式。环境(自然环境和社会环境)经由创作主体的感知和理解,以艺术的语言加以表现,其过程不是写真和被动反映,而是认知、选择和意象表达的过程,是阐释环境的过程。这样的理解,为我们重建了环境与艺术之间的关系,绘画成为环境认知和表达的一种重要方式。对于绘画中对环境表达的选择倾向,我们必须从地理条件和创作主体的个性和情感两方面入手,才能做出客观的分析。文章通过唐代诗画中长安意象的比较研究,考察唐代长安地域的文化空间和历史空间在绘画作品中的艺术表达,进一步发现创作主体对长安地域人文空间的理解和表达。

Essentially speaking, painting is actually a cultural imagination and a special means of expression, con-struction, and symbolic environment. It is not a course of describing something as it is or a passive reflecting, but itis a course of recognizing, selecting, and imagery expressing, and it is a course of interpreting environment. Such anunderstanding rebuilds a relationship between environment and art. Painting becomes a significant means for recogniz-ing and expressing environment. Based upon a comparative study upon the image of Chang＇an in Tang poetry andpainting, we do an investigation upon the cultural space and historical space of the region Changan in Tang dynasty,and further discover the creative subjects＇understanding and expression of the humanistic space of Changan.