摘要
《瑞鹤图》为徽宗朝勇实花鸟画与象征祥瑞画的代表作本文主要关注《瑞鹤图》的写实性,通过芳察图像中的三大主体——仙鹤、祥云、宣德门,及对发生在政和二年(1112)的瑞鹤事件的考证,探究《瑞鹤图》中的三种真实——自然的真实、艺术的真实与历史的真实本文认为.《瑞鹤图》中的祥云及宣德门试图还原自然与人文景观.而画中的瑞鹤则超越了自然的真实,用局部的夸张、变形及虚拟而达到艺术化的真实.从而触及当时的历史环境、政治意图及精神内核——徽宗朝用艺术作品收集瑞物并进行视觉的整理及再现.从而使之成为君主及王朝形象的视觉辅助.这也使得《瑞鹤图》脱离了普通花鸟画的范畴.而成为徽宗朝用动植物等瑞物进行“物象瑞应”的政治祥瑞画.
Auspicious Cranes is a masterpiece of the realistic flower-and-bird painting symbolistic auspicious painting during the reign of Emperor Huizong of the Northern Song dynasty. The paper mainly focuses on the realism of Auspicious Cranes figure. By observing the three main parts in the painting including the red-crowncd cranes, auspicious clouds and Xuande Gate and researching the incident of auspicious cranes in the second year of Zhenghe (1112) period, the author tries to explore the three kinds of truth of nature, art and history. Its believed that the auspicious clouds and Xuande Gate are the representation of natural and human landscape while the eranes are beyond the truth of nature of to realize the artistic truth through the exaggeration, deformation, and invention in some parts. Furthermore, it can be figured out the historical environment, political intentions and mental core at that time. During the reign of Emperor Huizong, the auspicious signs were collected and represented in the artworks and then they became the visual supplementary of the emperor and dynasty. In this sense, Auspicious Cranes was separated from the ordinary category of the flower and-bird paintings and turned into the political auspicious painting to suggest the divine happy omens by means of animals, plants and certain auspicious objects.
出处
《美术》
CSSCI
北大核心
2019年第4期110-115,共6页
Art Magazine
关键词
《瑞鹤图》祥瑞
花鸟画
写实
真实
Auspicious Cranes
auspicious ness
flower-and-bird pain ting
realism
truth
