身化神话:文人画的创作观隐喻

Body-transformation Myth:A Metaphor of the Creation Concept ofLiterati Painting

传统绘画神话的三种类型中,赵孟頫的"身化"式神话简短却又内涵丰富,其情节中的"拟象"是创作过程的审美移情与外模仿意识的统一;作为解读关键的李公麟"听劝",则意味着时代对于绘画创作状态的共同认知和接受,"拟象"与"听劝"的意蕴在根本上是一致的,折射出对艺术创作状态的极大关注,它是文人画思潮下绘画意识向着创作过程和创作主体转向的一种隐喻。从历史角度来看,这种具有着独立意义和价值的"身化"神话也是绘画神话自身演化的最后一种形态化。

In three types of myths of the painting, the body-transformation myth about ZHAO Mengfu is short and rich. The posture-simulation,one of the story elements,unitify the concept of aesthetical empathy and outer simulation. As a key to understanding of myth,LI Gonglin’s compliance means common congnition and reception about state of painting creation.The implication of "posture-simulation"and "compliance"are radically consistent and reflects the attention paid to the creative state. It is a turn’s metaphor of the painting consciousness towards the creative process and subject under the trend of literati painting. Meanwhile, the bodytransformation myth including independent valueand meaninghas also become the last form of the evolution of painting myth itself.From a historical point of view, the myth with independent value and significance is also the last form of the evolution of painting myth.