永宣艺术场域与台阁文学书写

The Artistic Field during the Yongle-Xuande Reign the Ming Dynasty and the Writing of the Ministerial Style

明前期永宣时期兴起的台阁体,不仅是诗文概念,还属于书画概念,因而反映出时代整体的审美旨趣。由于院体画和台阁体书法的提倡,台阁文人通过会通诗文、书法和绘画的文艺制作,构建出以书画为载体的山林空间,以区别于庙堂之上的政治空间,他们在休沐闲暇之时畅神适意,恣意享受山林闲适之趣。馆阁文人的书画题咏借用图画比德模式,鸣盛颂美,求得性情之正,实现山林与台阁、个体与家国的和谐统一,改变了宋元以来形成的山林文学书写模式,从而建立了属于有明新王朝的盛世文学。

The ministerial style(taigeti),which emerged in the early Ming period(1403-1435),is not only a concept of writing,but also a concept of painting and calligraphy,reflecting the prevailing aesthetics of the time.Due to the promotion of palace-style painting and ministerial style calligraphy,high officials interwove a space of landscape with calligraphy and painting as carriers,through literary and artistic productions of poetry,essay,calligraphy and painting.Distinct from the political space at the imperial court,this is a space for relaxationin their leisure time,when they had freedom to enjoy the leisure interest of mountain and forest.In the inscriptions on their paintings,these officials established analogic associations between natural images and morality,in order topursue the integrity of temperament through praising the prosperous age and natural beauty.The ministerial style embodied the harmony and unity of the nature and the imperial court,and individuals,families and the state.In this way it changed the style of mountain and forest literature that formed in the Song and Yuan dynasties,establishing a new literary style in line with the prosperous Ming period.