名胜古迹的再现与其变形——14至18世纪传统绘画中虎丘的视觉形象建构

Representation and Anamorphosis of Renowned Historic Sites:Visualisation of Huqiu in Chinese Paintings between the 14th and the 18th Centuries

本文通过一系列14—18世纪明清绘画的个案分析来考察该时期虎丘的文化形象、视觉形象建构及演变的过程,试图回应其名胜古迹身份如何建立起来的问题。绘画和建筑遗产学科间的联系可借助三组对应的概念比较来实现:主题为文化形象提供了资源;构图中的地志因素构建了视觉形象;情景交融的表达方式可被认为是对场所精神的再现。明代虎丘图像主要来自以吴门画派为代表的"家山图"作品,体现出一种前所未有的"人—地—景"的三元关系。明代虎丘绘画整体呈现出文本性想象和图像性再现结合的"情境交融"的特点,晚期代表性画家表现出对纯粹的视觉真实性的兴趣。清代南巡主题的宫廷绘画是最为重要的主题,通过引入线性透视确立了视觉的独立性,"南巡图系列"中的虎丘以纪念性的宏大叙事为帝国一统的意识形态提供了一个想象的图景,走向了一种"人—国家—景"的新三元关系。

On examining a series of Chinese paintings between the 14th and the 18th centuries, this article discusses the evolution of Huqiu＇s visual representations and tries to elaborate the key factors in the making of its cultural identity as a renowned historic site. Three visual attributes and their counterparts in heritage architecture are paralleled to build a connection between the two disciplines： themes of paintings serve as resources for cultural identity： the same as layouts of topography for visual identity, and ＇Qing Jing Jiaorong＇ （the fusion of feelings and sceneries） for ＇spirit of place＇ or ＇genius loci＇. The Ming-dynasty works were attributed to the Wu School of painters, who depicted Huqiu as ＂Jia shan＇ or the hometown hill. indicating an unprecedented triad of ＇people--region--scenery＇ connection. In general, the Ming works considered both visual imitation and recollection of the classics which are relevant for the representation of actual sceneries. Nevertheless, later painters showed more interests in ＂pare＇ visual imitation of the human eyes. In the case of Qing court works, a visual monopoly was established by introducing lineal perspective. Works depicting the ＇Emperors＇ Tours to the South＇, with their grandiosity or monumentality, had offered a spectacle, or a ＇grand narrative＇ for imaging the sovereignty of the Qing Emperors. A new triad of ＇people--state--scenery＇ connection gradually rose and compromised the former version.