吴亚娜.中国绘画研究的新面向:主副文本的互文阐释——以《诗与画:宋代宗室的艺术栖居》为中心[J].重庆文理学院学报,2021,40(3):92-102.
中国绘画研究的新面向:主副文本的互文阐释——以《诗与画:宋代宗室的艺术栖居》为中心
The New Directions of the Chinese Painting Research: Interpretation of Main and Secondary Texts Intertextuality—Take Poems and Paintings: the Art Home of Imperial Clan of Song Dynasty as Center
  
DOI:
中文关键词:  中国绘画  主副文本  互文性  《诗与画:宋代宗室的艺术栖居》
英文关键词:Chinese painting  the main and secondary texts  intertextuality  Poems and Paintings: the Art Home of Imperial Clan of Song Dynasty
基金项目:重庆市社会科学规划年度重点项目“文学与图像的互文性研究:中国绘画的文本与副文本互文性研究”(2018ZDWX12);国家社会科学基金艺术学青年项目“《四库全书总目》美术类提要考辨”(18CF190);重庆市艺术科学规划项目“中国古代正统文化谱系中艺术观念的嬗变研究”(20QN01)
作者单位
吴亚娜 四川美术学院 通识学院 重庆 沙坪坝 401331 
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中文摘要:
      随着国际学术交流不断地深入和学科界域的持续打破,一些全新的研究视角,诸如以视觉文化、文学图像论和文图学等为切入点的绘画研究,已逐渐成为艺术研究的新潮流。但“主副文本互文性”阐释运用到中国绘画研究中,似更为贴切。《诗与画:宋代宗室的艺术栖居》一书,尝试以法国叙事学家热拉尔·热奈特的基于文学研究的副文本理论,切入中国古典绘画的研究,倡导绘画主文本(画幅)与副文本(题跋、题记、印鉴、花押等)的互文性阐释,主张细读绘画主文本衍生而来的所有副文本,再回归主文本,建立主副文本之间畅通的对话渠道。此学科交叉的多元视角,结合传统的文字文献和书画文献的细致考辨、细腻分析,道出前人所未道、发掘画幅诸多幽隐之意,这是中国绘画研究的新思路和新方法,值得肯定与倡导。此书尝试建立的中国绘画主副文本互文阐释的研究程式,若移植到宗室之外的画家群体与个体研究,必将开拓出中国绘画研究的新空间。
英文摘要:
      Along with the development of international and interdisciplinary academic communication, some novel research perspectives, such as visual culture and literature image, have become new directions of art research. Nevertheless, for the research on Chinese paintings, it seems more appropriate to adopt the method of intertextuality between main and secondary texts. The book Poems and Paintings: the Art Home of Imperial Clan of Song Dynasty, attempts to apply the secondary-text theory proposed by French literature theorist Jeanette to the research of Chinese classical paintings. The book advocates the intertextuality between main text (the painting) and the secondary text (preface, postscript, epigraph, seal impression, and signature). It advocates carefully reading all the secondary texts related to the main text and then comes back to the main text. Combining the interdisciplinary perspective and classical literature analysis, the book reveals a lot of new implications of the paintings, which is the new perspective and method for researching Chinese classical paintings and deserves affirmation and advocating. The research paradigm of intertextuality between the main and secondary texts established by this book can also applied to other paintings, and it can expand the research space of Chinese classical paintings.
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