16世纪中国博古图与西方静物画中的物比较

Comparison of Objects in Chinese Antique Paintings of the 16th Century and Western Still Life Paintings

中国博古图与西方静物画的兴盛都始于16世纪前后,都以静物为表现对象,但又有所不同。从物的属性来看,博古图中的物与人们的精神需求紧密相关,其主要功能经历了从宋代的正经补史到明代的雅文化象征再到清代的吉祥文化寓意的变迁;在西方静物画发展史上具有节点意义的罗马静物画、荷兰静物画、夏尔丹静物画的繁荣都与特定时期物质生活的变化紧密相关。从物的审美来看,博古图因物喻志,以志为本,体现了中国传统诗学的比兴理论;静物画观物绘形,以物为本,使被忽视或熟视无睹的事物变得陌生、反常,体现了陌生化的审美追求。从物的感知来看,两者体现了中西文化中感物与观物两种不同的美学传统及其背后的感官倚重的不同。但由于艺术有其自身的特征和发展规律,所以两者的这些不同只是相对的。

The flourishing of Chinese antique paintings and western still life paintings began in the 16th century.They both showcase still life,but they are more or less different.From the perspective of the attributes of objects,the objects in the antique paintings are closely related to people's spiritual needs.Its main functions have experienced the changes from the formal history of the Song Dynasty to the elegant culture of the Ming Dynasty and to the auspicious cultural meaning of the Qing Dynasty.The prosperity of Roman still life paintings,Dutch still life paintings and Sherdan still life paintings,which are symbolic in the development history of western still life paintings,are closely related to the changes of material life in a specific period.From the aesthetic point of view,Chinese antique paintings are based on the metaphor of things,reflecting the theory of Chinese traditional poetics;still life paintings draw the shape of objects by viewing them,material-based,making the ignored or invisible things become strange,abnormal,reflecting the aesthetic pursuit of defamiliarization.From the perspective of object perception,they reflect the two different aesthetic traditions of feeling objects and viewing objects in Chinese and Western cultures and the different sensory emphasis behind them.Because art has its own characteristics and laws of development,the two also have some similarities.These differences are only relative.