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Please use this identifier to cite or link to this item:
https://nccur.lib.nccu.edu.tw/handle/140.119/43643
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| Title: | 遺民的生命圖像與文化鄉愁──錢選詩╱畫互文修辭的時空結構與對話主題 |
| Authors: | 鄭文惠
Cheng, Wen-huei |
| Keywords: | 錢選;遺民;題畫詩;詩╱畫互文修辭;文化鄉愁 |
| Date: | 2006-12 |
| Issue Date: | 2010-09-04 15:49:58 (UTC+8) |
| Abstract: | 錢選是宋末元初遺民中最富盛名，也是最重要的畫家。無可諱言，遺民恆常處在一個時空錯置的文化框架中。身為一位遺民，站在歷史、家國的廢墟前，面對漂泊、離散的生命經驗，及流逝不返的時間之河，錢選往往在詩／畫互文修辭的對話空間中開展出故國／新朝、現實／理想、現世／歷史反覆辯證的論題，指涉出遺民時空的錯置感：在世變格局的現實空間中錯置、構連出傳統文化的記憶空間，從而形塑為一個獨特的遺民時空場域。 全文先從「仙隱與閒居」、「懷古與記憶」、「待渡與傷逝」三向度，釐析錢選詩／畫互文修辭的對話主題與精神心理結構；繼而從「時空的錯位與歷史的回音」，分析其詩／畫互文修辭對話空間所呈現遺民生命存有虛空化的心理情感，及其中所再現的復古形式與所深蘊的歷史情懷。透過詩／畫互文修辭的轉喻機制，錢選也展演出一種新的文化想像，進而在文藝創構的空間中建構自我成為操演文化建制的欲望主體，因而或可說錢選詩／畫互文修辭的對話空間，雖傳述出遺民作為欲望主體永恆性的文化鄉愁，卻也同時表述為一種超離於現實社會的文化建制行動，而得以跨越世變中遺民主體文化身分邊緣化與生命境遇無常性的深層悲哀。末則論述錢選在開放性時空視域的筆墨結構中所釋放出「新古典式」的「懷古」之情，不僅獨具高度個性化的美學風格，其「以古非今」，運用「非形象」的「反圖繪」畫法，更導致中國繪畫圖式結構支配性審美規範的移位，而成就其在中國繪畫史上獨特的藝術地位。
Qian Xuan is one of the most famous and important painters in the end of Sung dynasty. Undoubtedly the loyalist (yi-ming) usually stayed in the cultural frame of dislocated space-time. When they stood in front of the historical ruins, their minds were occupied with drifting and diaspora life experiences, Qian Xuan often developed the dialectical themes which covered the past/current dynasty, reality/ideal, present/ history in the dialogue of poem/painting intertext rhetoric. His works reflected the loyalist’s memories which re-create a unique space for themselves to articulate the traditions in the changing present world.
This paper sets out to explore Qian Xuan’s poem/painting collection in terms of three aspects: “immortal hide/idly occupied being”, “nostalgia/memory”, and “cross waiting/grieves for the loss”. It also attempts to analyze the empty emotions of loyalist’s life being and the historical feelings of revivalism in the poem/painting intertext rhetoric. Through the metonymy of poem/painting intertext rhetoric, Qian Xuan also developed a new cultural imagination; and further, he built himself as a desire-subject to perform culture structure in the creating work of fine art. Therefore, the poem/painting intertext rhetoric not only demonstrated the loyalist’s constant cultural nostalgia as the desire-subject, it also reflected the cultural-identity actions transcending the reality of society and the deep sadness of loyalist due to their marginal status and life’s inconstancy. Finally, this paper discusses Qian Xuan’s outstanding handwritings while in his painting he used mostly wild and individual technique with the open space-time vision. Those works release nostalgia emotions in a neoclassic style . Qian Xuan’s unique aesthetic style, such as “anti-image”, ”anti-drawing”, have made the shift of aesthetic paradigm of Chinese paintings. This also results in his unique position in the history of Chinese paintings. |
| Relation: | 政大中文學報, 6, 147-181 |
| Data Type: | article |
| Appears in Collections: | [中國文學系] 期刊論文
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