转译与暗合——论辽博本《九歌图》礼器图像的多重意蕴

Translation and Association: On the Multiple Connotations of the Ritual Ware Images of The Nine Songs in Liaoning Provincial Museum

辽宁省博物馆藏宋代佚名《九歌图》卷以左图右文的布局精心构筑了文本独特的视觉阐释空间,拓展了《九歌》文学的多元内涵。若将该图器物的图像遗存形态、位置等因素与历史文献相结合探赜索隐,考辨画中组佩玉、壶(或罍)、鼎、爵、悬鼓、悬钟等礼器的文本和历史依据,可发现此图的诠释角度与图释语言不仅与经籍礼图、金石图谱有着密切关联,而且还呈现出宋人复兴三代礼制的思想倾向,其背后有着多重政治、文化意蕴。如此避免了以往对文图转译的中间环节(礼器)的文化内涵的忽视,有助于重新审视《九歌图》以多重审美理想观照现实物质文化的观念表达,对进一步认识该图在文本视觉表象之下并非仅囿于浪漫主义跬径的表现具有深远意义。

The Song handscroll The Nine Songs by unknown painter in Liaoning Provincial Museum constructs the unique visual interpretation space of the text with the composition of the left picture and the right text,expanding the multiple connotations of"The Nine Songs"literature.Delving into the text and historical evidences of ritual wares such as jade pendants,hu(or lei),ding,jue,xuan gu and xuan zhong on the basis of the image forms,position and historical documents in this painting,it can be discovered that the interpretation perspective and illustration language are not only closely related with the ritual paintings based on sutras and the collection of illustrative inscriptions on ancient bronzes and stone tablets,but also present a renaissance trend of the system of rites in Three dynasties,revealing multiple political and cultural connotations.So it is helpful to avoid ignoring the cultural connotation of the intermediate link(ritual ware)in the past translation of text and painting and re-examine the concept of understanding the material culture with multiple aesthetic ideals in the painting Nine Songs.Besides,it has a far-reaching significance for further understanding the painting in the perspective of textual visual imagery in addition to the romantic approach.