【摘要】 别号图是明代主流题材的绘画类型之一，画家通过绘制委托人的草堂书斋来展现别号主人高尚的品格。明代中叶以文徵明为代表的吴门画派将别号图推至顶峰，发展出一套“程式化”图式语言，同时，画作具有纪实性的表现特征为书斋研究提供了图像基础。采用圈层式结构将文徵明别号图的表现内容从外而内地解构为最外层、次外层和中心层三个空间圈层，分别对应地域山水、书斋园林、人文雅玩。重点对书斋园林的建筑形制、设景要素及其空间营造展开分析。并从传统图像学理论角度探讨在明代江南文化语境下文徵明别号图中所创造理想书斋园林的“林泉之境”。更多还原

【Abstract】 The alias picture is one of the mainstream genres of painting in the Ming Dynasty, in which the artist shows the noble character of the owner of the alias by drawing the client’s Thatched Cottage Study. In the middle of the Ming Dynasty, the Wu School of Painting represented by Wen Zhengming pushed the nickname map to its peak and developed a set of "stylized" graphic language. At the same time, the documentary performance characteristics of the paintings provided an image basis for the research of the study. The circle structure is adopted to deconstruct the expression content of the Wen Zhengming alias map from the outside to the interior into three spatial circles: the outermost layer, the sub-outer layer and the central layer, which correspond to the regional landscape, the garden, and the furniture and elegant play. The architectural shape, landscape elements and spatial construction of the Study Garden were analyzed. From the perspective of traditional iconographic theory, it discusses the "forest spring realm" of the Study Garden created in the cultural context of Jiangnan in the Ming Dynasty.更多还原