为南宋院体“诗意画”一辩--论高居翰《诗之旅》中的“视觉叙事”

摘要

美国艺术史家高居翰在《诗之旅：中国和日本的诗意绘画》一书中，通过对南宋院体画中“叙事元素”的提炼，将画中隐士的旅行生活概括为一种“理想的四段式叙事”，向读者呈现了一场精彩的“诗之旅”（“抒情的漫游”）。虽然他对画作的取舍带有较强的个人审美趣味，但他的研究纠正了之前对南宋院体画的不少误解，从院体画与皇家审美趣味、院体画对市井风俗画的影响及院体画的格调趣味等角度，重现了一个亦真亦幻的山水世界。这个意义世界既表现了南宋士人生活的闲适自在，又隐含着深深的忧患意识。%In the book The Lyric Journey:Poetic Painting in China and Japan, the American art histori⁃an James Cahill summarized the hermit travel’s life as“an ideal four narration”. By analyzing the fine details of the “narrative elements” in the Southern Song Dynasty painting, the readers gain a deeper understanding and experience of the wonderful lyrical journey. The paintings that he chose display strong personal aesthetic tastes. This research resulted in the rectification of societies’ misunderstandings of Yuanti paintings. James Cahill was able to reproduce the real and imaginary landscapes. As a result, he was able to show the symbi⁃otic relationship shared between royal aesthetic and civic genre painting from the Yuanti taste. The paintings showed the Southern Song Dynasty scholars’s life and the world they lived. This did not only highlight their leisurely life, but also the urgency that comes with daily living.