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先秦两汉时期绘画隐喻论略

On Painting Metaphor in Pre-Qin and Han Dynasties

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【作者】 王俊杰王炳社石海彬

【Author】 WANG Junjie;WANG Bingshe;SHI Haibin;Moscow Art School, Weinan Normal University;Humanities School, Weinan Normal University;School of Fine Arts, Weinan Normal University;

【机构】 渭南师范学院莫斯科艺术学院渭南师范学院人文学院渭南师范学院美术学院

【摘要】 绘画作为古老的艺术,它不仅是技术的艺术,更是灵魂的艺术和审美的艺术,因而它也是隐喻的艺术。人类最初的思维是隐喻式的思维,绘画作为最古老的艺术之一,自从它诞生起就是隐喻的,人类最初的刻划和图腾都带有隐喻性质。之后的陶器、青铜器上的绘刻,标志着中国绘画隐喻的深化和发展。秦汉时期的画像砖之雕绘或隐喻雄阔、威武、勇猛、尚勇的精神,或隐喻社会稳定繁荣、人们生活美好、性情朴素、生活富庶、自我满足及民风欢悦,或隐喻东汉后期群雄纷争、社会动荡、尔虞我诈盛行、衰亡颓势明显等;此时的画像石则具有祭祀、敬仰、怀念、祈福、谏诫、教化、子孙繁衍,权力威信、社会身份与财富,战场武士的英雄气概,追求长生不老、求仙升天的道教思想,以及崇尚忠、孝、仁、义的儒学思想等隐喻蕴涵。秦汉时期的绘画题材主要分礼教绘画和神仙绘画两大类,礼教绘画的核心隐喻是"成教化,助人伦",而神仙绘画则隐喻当时社会休养生息、祈求成仙、天人合一的意识和观念。

【Abstract】 As an ancient art, painting is not only the art of technology, but also the art of soul and aesthetics. Therefore, it is also the art of metaphor. Human’s initial thinking is metaphorical thinking. Painting, as one of the oldest arts, has been metaphorical since its birth. Human’s initial depiction and totem have metaphorical nature. Later, the painting and carving on pottery and bronze marked the deepening and development of Chinese painting metaphor. The carving and painting of portrait bricks in Qin and Han Dynasties and its metaphors are rooted with the spirit of being broad, powerful, brave and ferocious, or there are metaphors about the social stability and prosperity, people’s peaceful life, simple temperament, rich life, self-satisfaction and happy folk customs, or there are metaphors of the disputes among the heroes, social unrest, the prevalence of intrigues, and obvious decline in the late Eastern Han Dynasty; at this time, the portrait stone has metaphorical implications such as sacrifice, admiration, remembrance, blessing, admonition, education, offspring reproduction, power, prestige, social identity and wealth, the heroic spirit of battlefield warriors, the Taoist thought of pursuing immortality and immortality, and the Confucian thought of advocating loyalty, filial piety, benevolence and righteousness. The painting themes in Qin and Han Dynasties are mainly divided into two categories, ethical painting and immortal painting. The core metaphor of ethical painting is “enlightenment and helping human relations”, while immortal painting metaphors the consciousness and concept of social recuperation, praying for immortality and the unity of heaven and man at that time.

【关键词】 先秦两汉绘画情感隐喻
【Key words】 pre-Qin and Han Dynastiespaintingemotionmetaphor
【基金】 陕西省社会科学基金项目:中国画隐喻价值研究(2017J050)
  • 【文献出处】 渭南师范学院学报 ,Journal of Weinan Normal University , 编辑部邮箱 ,2021年10期
  • 【分类号】K22;J209.2
  • 【被引频次】1
  • 【下载频次】118
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