宋代山水画中的“家园”意识探析——以三重空间为中心

The Concept of Home in the Shanshui of the Song Dynasty:Focusing on the Triple Space

“山水家园”一直被视为自然而然的组合,但从构词和逻辑来看,“山水”与“家园”之间并不存在必然的联系,那么,这一过程是如何发生的?宋代山水画对“无何有之乡”的意象化表达提供了一种回应方案。“无何有之乡”是一个超越地方经验的文化空间,其在山水画中的建构依凭的是画中三重空间的部署与经营。在世俗中因有限性而困顿的宋人将文化记忆与生命安顿寄托于抽象化、审美化的山水意象,最终以画为居,实现了从自然到达自由,从有限抵达无限的理想。

"Landscape"and"home"are considered inter-connected,yet,in terms of etymology and logic,not naturally intertwined.So why this connection?An answer is that the Song Shanshui provides a solution for the Chinese imagination of Utopia,or Nowhere.Nowhere is a space that transcends one’s local experience and builds its world in Shanshui by the planning of the Triple Space in the painting.Bound by the limits of their worldly life,the Song literati entrusted their culture and life to the abstract,aesthetic Shanshui,resided in it,and reached freedom through nature and the infinite through the finite.