从草堂到高士—卢鸿“草堂范式”的确立与转换

发布时间：2018-05-02 11:22

本文选题：卢鸿 + 草堂范式　；参考：《上海师范大学》2013年硕士论文

【摘要】：本文以活动于唐代开元前后的隐士卢鸿及其所绘《草堂图》为研究对象，以托马斯·库恩于上世纪六十年代提出的科学哲学概念——“范式”为笔者“攻玉”的“他山之石”。旨在厘清由卢鸿、王维所创立的“草堂范式”（山水），在以文人画思潮为背景的北宋中后期发生的消解与转换。首先，将卢鸿置于政治环境中，探寻其“真隐”之名在唐代统治阶层中的真正含义。在文化背景中，发见卢鸿“归隐”在唐代士人心中荡起的层层涟漪。同时，在唐代中期“始于吴，成于二李”的“山水画之变”中，，把握卢鸿所处的位置，揭除朝代更迭所导致的——即时间的不可逆对其绘画面貌的遮蔽。其次，从隐逸精神、草堂图式、图以言志以及作为同盟军的王维《辋川图》讨论“草堂范式”的建构及其确立。第三，以北宋后期“文人画”的代表人物——李公麟所作《山庄图》与《归去来辞图》为切入点，讨论卢鸿“草堂范式”的消解与转换。李公麟将《山庄图》视为与卢鸿、王维二人平起平坐的砝码，随着李公麟《山庄图》对“草堂范式”的消解完成，卢鸿“草堂范式”在北宋末年进入式微期。进而，以北宋政治、文化、审美取向为背景，以《归去来辞图》图式、空间意识及绘画主题为基础讨论“陶潜范式”（人物）的建构。将“草堂范式”的转换过程——亦即由山水画向人物画的转换揭示出来。
[Abstract]:This paper takes Lu Hong, a hermit who was active around the Tang Dynasty, and his Caotang Picture as the research object, and takes the concept of philosophy of science, "Paradigm", which Thomas Kuhn put forward in the 1960s, as the "stone of other mountains" of the author "attacking jade". In order to clarify the "Caotang Paradigm", which was founded by Lu Hong and Wang Wei, the deconstruction and transformation took place in the middle and late period of Northern Song Dynasty with literati painting thought as the background. First of all, Lu Hong was placed in the political environment to explore the true meaning of his name in the ruling class of Tang Dynasty. In the cultural background, Lu Hong's "retreat" in the hearts of Tang Dynasty scholars ripple layers. At the same time, in the "change of landscape painting" in the middle of Tang Dynasty, "from Wu to Erli", the position of Lu Hong was grasped, and the irreversibility of time to hide his painting appearance caused by the change of dynasty. Secondly, the construction and establishment of "Caotang Paradigm" are discussed from the perspective of the spirit of seclusion, the Caotang schema, the expression of ambition and Wang Wei's Wang Chuan Tu. Thirdly, this paper discusses the deconstruction and transformation of Lu Hong's "Caotang Paradigm" by Li Gonglin, a representative figure of literati painting in the late Northern Song Dynasty. Li Gonglin regards the Mountain Chong Chong as a weight on an equal footing with Lu Hong and Wang Wei. With the elimination of the "Caotang Paradigm" by Li Gonglin, Lu Hong's Caotang Paradigm entered a declining period at the end of the Northern Song Dynasty. Then, based on the political, cultural and aesthetic orientation of the Northern Song Dynasty, the construction of Tao Qian's paradigm (characters) is discussed on the basis of the schemata, spatial consciousness and painting themes. The transformation process of "Caotang Paradigm", that is, the transformation from landscape painting to figure painting, is revealed.
【学位授予单位】：上海师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J205

【共引文献】