山中圣境:中国传统山水画中“亭”的空间叙事

The Sacred Land in the Mountains:The Spatial Narrative of“Pavilion”in Traditional Chinese Landscape Painting

“亭”在中国传统山水画中有着特殊的空间指示与叙事功能,而并非只作为一般的“点景”形象出现。代表着古代士人审美思想与人生态度的“草亭”与“空亭”构成了经典的“亭”之形象,传达了传统山水画中隐含的人文踪迹与士人理想。“亭”作为一种人迹标识和空间地理标志,引导着观者的空间想象与进入,是士人隐喻的空间精神场所;“亭”制造了一种绝佳视点与“看”之体验,为画家和观者提供了最佳的观景平台和视觉期待;“亭”在显露自身的同时还原了世界,成为一处山中的“圣境”,揭示了士人隐遁自然的主题;而“空亭”则作为一种象征的空间符号,强化了过往的痕迹与记忆幻象,且看亭的背后预示着观看者的文化身份,共同构建了山水画的意义之场。

In traditional Chinese landscape painting,the“pavilion”serves a unique role as a spatial indicator and narrative element.The“grass pavilion”and the“empty pavilion”,both integral components of the classical pavilion imagery,encapsulate the aesthetic philosophies and perspectives of ancient scholars.These classic depictions of the pavilion not only convey the humanistic ideals of the scholars but also imbue traditional landscape painting with profound meaning.As a symbol of human presence and geographical location,the pavilion guides the viewers in their spatial imaginings and entrances them into a metaphorical realm cherished by scholars.It creates an excellent vantage point and viewing experience,offering painters and viewers alike the best platform for contemplation and visual anticipation.Simultaneously,the“pavilion”also unveils itself while capturing the essence of the world.In doing so,it transforms into a“holy land”within the mountains,shedding light on the solitary disposition of nature cherished by scholars.As a symbolic spatial element,the empty pavilion fortifies the echoes of the past and the illusion of memory.Gazing upon the pavilion hints at the cultural identity of the viewer,collectively contributing to the rich tapestry of meaning within landscape painting.