中国画的发展存在着一种可称为“视觉典故”的现象，在文人画中表现最为明显。本文以明代吴门画派画家唐寅为例来讨论其中的相关问题。本文的内容主要包括两个方面，一是“视觉典故”的概念，二是唐寅关于视觉典故的运用。本文认为，视觉典故的运用，使唐寅绘画富有强烈的智慧特点，他的绘画不是图写物象，吟弄花鸟，而是追求生命的“真性”。唐寅绘画视觉典故的运用，反映了明代以来文人画的独特旨趣。%In the development of traditional Chinese painting, there has been a phenomenon labeled as ＂visual allusion＂ , which has been shown most distinctly in literati painting. This article takes the painter Tang Yin from the Wu School of painting in the Ming Dynasty for example to discuss some related issues, which mainly involve the concept of ＂visual allusion＂ and its application by Tang Yin. By using visual allusions, Tang Yin＇s paintings became characterized with outstanding wisdom, indicating that he really pursued the truth of life in his paintings instead of illustrating an object as it was. The application of visual allusions by Tang Yin reflected the unique purpose in literati paintings since the Ming Dynasty.
展开▼
