樊圻、吴宏合作《寇湄像》讨论——以像主形象在清代之形塑为中心

发布时间：2018-06-05 07:16

本文选题：南京 + 寇湄　；参考：《故宫博物院院刊》2017年02期

【摘要】：该文透过分析清初金陵画家樊圻和吴宏合作于1651年的《寇湄像》,考察小像的风格、流传和文化意义。画家以白描手法展示了寇湄“美人迟暮”的意象,与明遗民余怀的题赞以及钱谦益之赠诗相应和,为后世之解读定下了基调。此外,画像的十四首题咏及其流传展示了清人多元的诠释视角,远非“遗民”单一概念所能涵盖。从小像之相对私密化传阅走向《秦淮八艳图咏》出版之大众化传播,其人物形象早已不囿于图像的局限,并被赋予生动丰富的传奇色彩。
[Abstract]:This paper studies the style, spread and cultural significance of Xiao Xiang by analyzing the cooperation of Fan Qi and Wu Hong in the early Qing Dynasty in "Kou Mei Xiang" in 1651. The artist displayed the image of Kou Mei's Beauty late in the Day, which was related to Yu Huai's praise and Qian Qianyi's poems, which set the tone for the interpretation of later generations. In addition, the 14 themes of the portrait and its spread showed the Qing Dynasty's pluralistic perspective of interpretation, far beyond the single concept of "the bereaved people". The relatively private circulation of the images from childhood to the popularization of the publication of Chin Huai Ba Yan Tu Ching, its characters have long been not limited to the limitations of the images, and have been endowed with vivid and rich legendary color.
【作者单位】：香港中文大学艺术系;

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