图绘与现实--历代兰亭图像中的“曲水流觞”山水意象研究

Drawing and Reality:Study on“Curved Brook for Drinking and Poetry”Landscape Image in Orchid Pavilion Paintings of All Dynasties

"曲水流觞"是中国历代文人心中理想山水环境的代名词。分析历代传世兰亭图像演变,并结合兰亭考古研究,进一步探讨兰亭图中不同于现实世界的"曲水流觞"山水意象特征。研究发现:(1)历代兰亭图的图绘重心从人物转移到山水,其构图在四段落图式基础上进行传承和创新;(2)现实世界中的兰亭几经变迁,从毫无人为干扰的自然环境演变成人工意味浓厚的纪念性园林。在历代兰亭图中,曲水流觞之地始终都处在自然山水之间,通过一或两座亭阁增添人工意趣,保持了在自然山水环境中进行极为有限人工建设的基本思想。从绘画的角度为以"曲水流觞"山水意象为代表的中国传统文化语境下理想游憩山水环境研究进行了有益补充。

“Curved brook for drinking and poetry”(Mandarin:qushuiliushang)is a synonym of the ideal landscape environment in the mind of Chinese literati of all dynasties.This research analyzes the evolution of the Orchid Pavilion images handed down in the past dynasties,and further explores the characteristics of“curved brook for drinking and poetry”landscape image in paintings different from the real world based on researches of the Orchid Pavilion archaeology.It has found that:(1)The focus of the drawings has shifted out of portrait to landscape,and the composition of the paintings has been inherited and innovated based on four basic schemes;(2)The Orchid Pavilion in the real world has undergone several changes,from a natural environment free from human interference to a memorial garden of strong artificial implications.However,in the Orchid Pavilion paintings of past dynasties,the place of curved brook for drinking and poetry has always been in the natural environment.With one or two pavilions to add artificial interests,these Orchid Pavilion paintings have maintained the basic idea of launching limited artificial construction in the natural landscape environment.From the perspective of the paintings,this research provides a useful supplement to the study of the ideal recreational landscape environment in the context of Chinese traditional culture represented by the landscape image of“curved brook for drinking and poetry”.