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卿梯褚
7 years ago
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4 12 ( ) ( ) 1 3 ( ) (1098?-1174) ( )

5 ( ) ( ) (?-1266) (1213-?) ( ) )

6 ( ) ( ) ( ) 2 9 ( ) Lee Hui-shu, The Domain of Empress Yang ( ): Art, Gender and Politics at the Southern Song Court, (Ph.D. diss., Yale University, 1994), pp a-5a a-12a b

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18 8 6 ( ) ( ) b-5a b b 90 Wen C. Fong, Words and Images in Sung and Yüan Paintings Richard M. Barnhart, Peach Blossom Spring: Gardens and Flowers in Chinese Paintings (New York: Metropolitan Museum of Art, 1983), p

19 93 ( ) Chu-tsing Li et al eds., A rtists and Patrons: Some Social and Economic Aspects of Chinese Paintings (Lawrence, Kan.: Kress Foundation Department of Art History, University of Kansas, Nelson-Atkins Museum of Art, Kansas City, in association with University of Washington Press, 1989)

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25 1 3 3 ( ) ( ) ( ) a a a -57-

26 1 4 0 ( ) (Benjamin A. Elman) a -58-

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32 4 5 The Nelson Gallery of Art, Atkins Museum -64-

33 6 7 Freer Gallery of Art -65-

35 10 The Art Museum, Princeton University 11 The Art Museum, Princeton University -67-

36 12 The Metropolitan Museum of Art -68-

37 -69-

38 Landscape Like a Picture and Landscape in the Picture : On the Song and Yuan Poems on the Xiaoxiang Landscape Paintings I Lo-fen The Yuan dynasty is a pivotal period in the development of thought and feelings in the poems on Xiaoxiang landscape paintings. This article examines examples from the Song and Yuan dynasties for the purpose of charting the changes in viewing perspectives, patterns of composition, and lyrical expressions. We ponder these issues: the emerg e n c e of the local eight (or ten) views ; the compositional patterns of images in the local eight (or ten) views ; the interrelationshi p bet ween lyri cizing and objective representation ; as well as the two different attitudes of seeing landscapes as pictures ( landscape like a picture ) and of taking paintings to be real landscapes ( landscape in the picture ). From these we can observe the change in inclinations from the Song poets feelings and scenes in one to expressing feelings through the scenes from the Yu a n. We compare the contents of the Song and Yuan colophons on two of the E i g h t Views of Xiaoxiang, i.e., the Yucun xizhao (Sunset in a Fishing Village) and the X i a o x i a n g y e y u (A Rainy Night in Xiaoxiang). We find that Song poets emphasize feelings and scenes in one : the poet projects his subjective feelings on the scenery in the paintings, making the landscape his thought incarnated. In addi tion, the lit erary and cultural allusions of the Xiaoxiang verses echo the feelings that the Song poets wish to express. In contrast, expressing feelings through the scenes is preferred by Yuan poets, who tend to present scenery from an objective, aloof point of view. They situate themselves in a historical context, which lends a keen sense of time and universality to their works. The differences between Song s landscape like a picture and Yu a n s landscape in the picture expose larger historical di spositions. Song poets perceive things subjectively and humanize the landscape, the painting thus made embodies personal feelings. Yuan poets perceive things objectively with rational and practical thinking. Together with the idea of [feelings] originate from emotion and go as far as rites allow they express publicly shared feelings suffused with a historical sense. Keywords: Xiaoxiang Eight Views of Xiaoxiang Ten Views of Xihu Eight Views of Yanjing feelings and scenes in one -70-

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