情之景－宋代山水畫中的浪漫情思

The Landscape of Sentiment in Song Dynasty China

包華石(Martin J. Powers)

《欲掩彌彰：中國歷史文化中的「私」與「情」─公義篇》 2003 (2003/09) Pp. 63-81

https://doi.org/10.29530/gongyi.200309.0063

摘要

在全世界，歐洲也好，中國也好，私人自我的思維境界是貴族的政權衰退之後才能形成的歷史現象。在中國的歷史上，貴族的世襲特權是相當早開始衰落的，因此到了北宋時早就出現了一批新的文體，包括筆記、詩話、詞話、題畫詩詞、序言和題跋。當時的繪畫也可以算是另外改良公共角色的媒體。因為這些文體都是以私人的經驗為內容主體的，所以無世襲特權的人，可以利用這些媒體來改變自己在社會中的形象和角色。以繪畫來講，扇子是有著特殊的地位：扇子小又輕，在個人的人際交往當中，扇子可以表現使用者或擁有者的自我理想，可以說扇子的物質特點是配合表明個人心意的需要，因此宋代扇子上的景象很易於傳播自我的情意內涵。可是情意內涵原本是頗為含蓄、神秘的，是別人看不到的私人情景，宋代的扇子怎麼能表達出這麼微妙的東西呢？根據宋代抒情詩詞的實踐和當時新形成的男女權責關係，有可能一部分所謂山水畫其實是包含著浪漫情思的。這篇論文是探討這一個可能性，就是探究宋代山水畫中的浪漫情思。

關鍵字

浪漫主義 ； 山水畫 ； 社會與藝術 ； 宋朝 ； 國畫 ； 婚姻關係

並列摘要

Throughout the world, most noticably in China and in Europe, expressions of private, internal states of mind tend to assume an important role in public discourse only after the influence of heredity as a determinant of identity declines. The reason for this may be that, deprived of fixed, inherited roles, individuals are forced to develop a public persona which can negotiate roles different from those of one's ancestors. In China, the grip of hereditary status declined relatively early so that by Song times we find individuals making use of personal artifacts for the construction of personal identities. During this same period the technology of printing made possible the rise of several new genre of literary expression in which highly personal, often confessional views could be articulated for public consumption. These included new forms of poetry appreciative of mundane subject matter, personal notes (biji), poetry chats (shihua), lyric chats (cihua), prefaces (xu) and colophons (tiba). The latter were usually written on the spur of the moment, and often at social gatherings. The first three genres often record touching stories of personal sentiment, flirtation or romance. The last two frequently served as arenas for the expression of personal and original views on art, society, or literature. Alongside these literary media there developed a market for fan paintings. Highly portable and relatively cheap, fans were often given as gifts to friends or lovers. In time fan painters developed themes hinting at those personal sentiments their buyers wished to express in hidden or indirect ways, and so we find scenes of empty bridges, weeping willows and sunset landscapes, what I would call the landscape of sentiment. Previously mistaken as ordinary nature scenes, many landscapes in the fan format are laden with sentimental imagery and incorporate features of style which resonate with verbal tropes for sentiment. This paper explores these landscapes and their impact on power relations between men and women.

並列關鍵字

romanticism in art ； landscape in art ； art and society ； Song dynasty ； Chinese painting ； marital relations