寄意与寄身:元代隐逸山水画中比德观的语象蕴含

“MEANING” AND “BODY” OF LANDSCAPE: THE IMPLICATION OF METAPHOR IN THE VIEWPOINT OF VIRTUE IN THE RECLUSIVE LANDSCAPE PAINTING OF YUAN DYNASTY

元代隐逸山水画继承了宋代文人绘画中以物比德的表现方式,但经历了国破家亡的文人画家们不再使用南宋院体式的比德方式,转而通过富有隐喻意味的图像来寄托独立的思想旨趣和文人情怀。因此,元代隐逸山水画没有道德劝诫和对盛世繁华的歌颂,而是依靠隐喻意味的图像寄寓画家们独立的“身”与“意”。本文以元代著名文人画家及其画作为例,探究了元代隐逸山水画中的“比德观”,从山水“寄意”、山水“寄身”和由“寄意”到“寄身”的深化三个方面对其中的语象蕴含进行了剖析。

The reclusive landscape painting of the Yuan Dynasty inherited the expression mode of comparing objects with virtues in the literati paintings of the Song Dynasty. However,the literati painters who experienced the national and family collapse did not use the way of comparing objects with virtues in the Southern Song Dynasty. Instead, they used metaphorical images to express their independent ideological purport and literati feelings. Therefore, in the Yuan Dynasty, reclusive landscape painting did not have moral admonition and eulogize to the prosperity, but relied on metaphorical images to convey the independent "Body" and "Meaning" of the painters. Taking the famous literati painters and their paintings in the Yuan Dynasty as examples, this paper explores the concept of virtue in the reclusive landscape paintings of the Yuan Dynasty, and analyzes the connotations of language and image in the reclusive landscape paintings from three aspects: "expressing meaning", "expressing body" and deepening from "expressing meaning" to "expressing body".