从山水画“隐逸”主题的演变窥探艺术史的变迁

Transformation of the Art History Viewed from the Seclusion Theme in Water and Mountain Painting

传统绘画主题"归去来兮"的母题原型来自于陶渊明《归去来兮辞》,但不同的时期出现了近似的主题,即"归隐"主题。此后相关的母题、题材被纳入山水画系统中并不断变化,使中国山水画几乎都成为一个"隐逸"的主题表达。有的母题、题材较为明显地表达的是"归隐"或"隐逸"主题,有的表达则较为隐晦。甚至有的母题与"归去来兮"貌似,但主题未必是"归隐",而有图像的显示则正好相反。还有一些山水图式的母题与"归去来兮"关系并不明显,但的确主题是"归隐",正是这些母题、题材、主题要素的变化构成了一个艺术史复杂变迁的现象。母题与主题学理论来揭橥这个史学变迁的现象,是建构中国艺术史不可缺少的理论。

The motif ＂reclusion＂ depicted in traditional painting derives from Tao Yuanming＇ s prose ＂Returning to Countryside＂. And later, many relevant motifs and themes were all included in water and mountain painting system and changed as the time went by, which made Chinese water and mountain painting almost became a reclusion expression. Some are distinct to reflect the seclusion theme, some are obscure, some are seemingly depicting reclusion but actually not, some are opposite. And some are seemingly not reclusive but actually is. Such motif, theme, subject compose the transformation of art history. To disclose the phenomenon of historiography transformation from the perspective of motif and thematology is essential for constructing Chinese art history.