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題 名 | Sung Loyalist Calligraphy in the Early Years of the Yuan Dynasty |
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作 者 | Sturman,Peter C.; | 書刊名 | 故宮學術季刊 |
卷 期 | 19:4 民91.夏 |
頁 次 | 頁59-102 |
專 輯 | 蒙元文化與藝術學術研討會專刊(一) |
分類號 | 944.957 |
關鍵詞 | 宋; 元; 遺民; 書法; Chinese loyalists; I min; Calligraphy; Chinese; Sung-Yuan dynasties; |
語 文 | 英文(English) |
英文摘要 | While the paintings of I min (loyalist) figure active in the early years of the Yuan dynasty is a fairly well understood phenomenon, the calligraphy of these individuals has yet to be studied with the same goal of determining whether or not the art of writing was used to express affirmations of one's political and social position. It is difficult to find extant writings by known loyalist figures, and it is even more difficult to find writings by a single loyalist from both before and after the dynastic transition, thus making it exceedingly difficult to ascertain changes that may have taken place in calligraphy because of the Mongol conquest. In this article a methodology is adopted in which inscriptions to well-known paintings whose contents are unequivocally loyalist in tone are used as the primary source. Specifically, inscriptions by the loyalist painters Ch'ien Husan (circa 1235-before 1307) and Kung K'ai (1222-1307) are examined and ultimately contrasted. A third grouop of writings is comprised of inscriptions written by Chou Mi (1232-1298) and Ch'iu Yuan (1247-1327) for a painting by the late Southern Sung painter Chao Meng-chien (1199-1264) - inscriptions whose contents clearly transform Chao's painting from an innocent document of the recent past into a memorial for a fallen dynasty. Much emphasis is placed on determining the precise nature of these various inscriptions, with their allusions and hidden meanings, for it becomes apparent that the loyalist camp was not, as is generally believed, unified in its attitudes and expression towards the fallen dynasty. Chou Mi's and Ch'iu Yuan's inscriptions for Chao Meng-chien's painting reveal a close association with one of the paramount expressions of loyalist sentiment, the Yueh fu pu t'I collection of tz'u songs composed in 1279, and this, in turn, proves to be related to Ch'ien Hsuan's paintings and inscriptions. While the calligraphy of these three figures is shown to have a common basis in practice related to the late Southern Sung, that of Kung K'ai, whose inscriptions suggest a less sympathetic attitude towards the fallen dynasty, represents a very different form of visual expression. |
本系統中英文摘要資訊取自各篇刊載內容。