“桃源图”与“豳风图”:中国绘画与经学之管蠡

Taoyuan and Binfeng:Discuss on Relationship between Chinese Painting and Confucianism

经学题材介入书画表现由来已久,《诗经》作为儒家经典之一,在历时性书画创作中更是如此。尤其在《诗经·豳风图》与《桃源图》稼穑农桑构成要件的趋同下,并在症候阅读的背景中,通过误读,将桃源经典文本嵌入主体的接受图式中,开启了“桃源图”与“豳风图”互文的共时性特征,呈现出新的意识形态反馈机制,其历史厚度与人文深度成为创作者贯通古今的生命理想与心灵真实。

The subject matter of Confucian classics has been involved in the expression of calligraphy and painting for a long time.As one of the Confucian classics,The Book of Songsis even more so in the diachronic creation of calligraphy and painting.In particular,under the convergence of the constituent elements of farmfarming in the Binfeng Drawing and the Taoyuan Drawing,and in the background of the symptomatic reading,through misreadings,the Taoyuan classic text is embedded into the subject’s acceptance schema,which opens the synchronic characteristics ofthe“intertextuality”of“the Taoyuan Drawing”andtheBinfengDrawing,presenting a new ideological feedback mechanism,Its historical thickness and humanistic depth become the creator’s life ideal and spiritual reality through ancient and modern times.