论宋元界画“真实性”的多重维度——从《明皇避暑宫图》轴的创作理性说起

Study of the Multiple Dimensions of“Authenticity”of Ruled-line Paintings in the Song and Yuan Dynasties——Starting from the Creative Rationality of the Scroll Painting of the Picture of Ming Emperor’s Summer Residence

界画是以描绘建筑、舟车、桥梁等构筑物为目的,用界尺辅助作图的特殊画种,能否如实表现建筑信息是评判其优劣的重要指标,对画作“真实性”的求索引出对版本、原型、创作意图和笔法等不同内容的探讨,影响人们评判此类媒材的立场。举元人所摹郭忠恕本《明皇避暑宫图》轴为例,探索画家建构图像内部形式秩序的方法,并比较其与真实营造工法的异同。通过辨析图像内蕴的几何规律与折算原则,总结画家的创作理性,利用控制网格、扩大模数等工具系统考察该例的“真实性”,深化对于主观创作理性与客观真实性间辩证关系的认识。

Jiehua or Ruled-line painting is a unique genre of painting that relies on tools such as rulers to depict buildings,vessels,vehicles,bridges and other structures.Therefore,whether the architectural information can be faithfully represented is an important indicator to judge its merits and demerits.The quest for the“authenticity”in paintings has led to the discussion of different contents such as versions,prototypes,creative intentions and brushstrokes,and in turn affects people’s judging position of this type of media.Taking as an example the Yuan copying version of Guo Zhongshuo’s scroll painting of the Picture of Ming Emperor’s Summer Residence,this paper analyzes the techniques used by the painter to construct the formal order within the painting,and compare the similarities and differences with the actual construction methods.Identifying the geometric laws and conversion principles embedded in the image and summing up the painter’s creative rationality,the paper examines the“authenticity”of the painting systematically by using tools such as control grids and expanded modulus with the view to deepening the understanding of the dialectical relationship between subjective creative rationality and objective authenticity.