查詢結果分析
來源資料
頁籤選單縮合
題 名 | 想像異國--傳陳居中〈文姬歸漢圖〉研究=Imaging the Foreign: On the Painting Lady Wen-chi Returning to China in the National Palace Museum |
---|---|
作 者 | 賴毓芝; | 書刊名 | 故宮學術季刊 |
卷 期 | 25:1 2007.09[民96.09] |
頁 次 | 頁15-88 |
分類號 | 945.4 |
關鍵詞 | 蔡琰; 陳居中; 文姬歸漢; 宋遼金文化交流; 番族畫; 北宋末山水畫; Ch'en Chü-chung; Lady Wen-chi returning to China; Sung-Liao-Chin cultural exchange; Paintings of barbarians; Late Northern Sung landscape painting; |
語 文 | 中文(Chinese) |
中文摘要 | 本院所藏傳陳居中〈文姬歸漢圖〉,雖然沒有簽款,但一直以來在《石渠寶笈續編》的主導下,學者多以南宋作品視之,並認為其與波士頓本〈胡笳十八拍〉的 製作脈絡相同,都是南宋政治圖像生產的一部分。本文重新審視此圖的構成,並從「物」的時間、「風格」的時間、「文本」的時間三個方面進行解讀分析,認為此圖成立時間很可能是在北宋末徽宗朝時期,展現的是在緊張的北方威脅下,對異國想像的濃烈興趣與熱中使用舶來品的奢華時尚。 |
英文摘要 | The painting Lady Wen-chi Returning to China in the collection of the National Palace Museum, although lacking an artist’s signature, has long been considered a work of the Southern Sung period. This attribution has mainly been based on a record of the painting in the imperial inventory of the Ch’ing dynasty court entitled Shih-ch ‘ü pao-chi hsü-pien. Many scholars see this work as the result of the same political propaganda effort by the Southern Sung court that produced the album of Eighteen Songs of a Nomad Flute, also depicting the story of Lady Wen-chi, that is in the collection of the Museum of Fine Arts, Boston. This paper re-examines the dating of the painting from three perspectives: that of the objects depicted therein, the style itself, and the texts that are used. The results of this analysis present an argument that this painting could be done towards the end of the Northern Sung, when society was fascinated by an imagination of foreign states and by the use of imported exotic goods, while at the same time facining severe military and diplomatic pressure from the North. (Edited by Jeffrey Moser) |
本系統中英文摘要資訊取自各篇刊載內容。