“潇湘八景”在日本中世——以屏风绘为中心

Eight Views of Xiao-xiang in Medieval Japan——Focusing on the Byōbu e

“潇湘八景”是成型于中国北宋时期的山水题材,13世纪随着水墨画传入日本。到了15世纪,日本画家把“潇湘八景”题材用于屏风绘的创作,促成了日本水墨画的真正发展。“潇湘八景”在适应屏风绘的大画面时,逐渐脱离中国样式,形成了显著的日本式特点。屏风绘的作者们没有盲目追求水墨画表现的本质,而是追求画面的样式化,具有鲜明的特点:多景同幅、按四季排序、八景顺序较为固定。“潇湘八景”在日本中世的吸收与变化,与幕府将军意图建设武家新文化的政治背景密不可分,是日本文化主体阶段性发挥作用的结果。

Eight Views of Xiao-xiang,a traditional landscape theme formed in the Northern Song Dynasty of China,was introduced to Japan in the 13 th century with ink painting.Japanese painters used the theme of Eight Views of Xiao-xiang in Byōbu e(apainting on a folding screen),which contributed to the real development of Japanese ink painting.The theme gradually deviated from the Chinese style when adapting to the big picture of Byōbu e,and formed remarkable Japanese characteristics.The authors of Byōbu e did not blindly pursue the essence of ink painting,but the pursuit of the style,forming a distinctive feature.The absorption and change of"Eight Views of Xiao-xiang"in medieval Japan was closely related to the political background of shogun's intention to build a new Samurai culture.