本文選題：南京 + 寇湄��； 參考：《故宮博物院院刊》2017年02期

【摘要】：該文透過(guò)分析清初金陵畫(huà)家樊圻和吳宏合作于1651年的《寇湄像》,考察小像的風(fēng)格、流傳和文化意義。畫(huà)家以白描手法展示了寇湄“美人遲暮”的意象,與明遺民余懷的題贊以及錢(qián)謙益之贈(zèng)詩(shī)相應(yīng)和,為后世之解讀定下了基調(diào)。此外,畫(huà)像的十四首題詠及其流傳展示了清人多元的詮釋視角,遠(yuǎn)非“遺民”單一概念所能涵蓋。從小像之相對(duì)私密化傳閱走向《秦淮八艷圖詠》出版之大眾化傳播,其人物形象早已不囿于圖像的局限,并被賦予生動(dòng)豐富的傳奇色彩。
[Abstract]:This paper studies the style, spread and cultural significance of Xiao Xiang by analyzing the cooperation of Fan Qi and Wu Hong in the early Qing Dynasty in "Kou Mei Xiang" in 1651. The artist displayed the image of Kou Mei's Beauty late in the Day, which was related to Yu Huai's praise and Qian Qianyi's poems, which set the tone for the interpretation of later generations. In addition, the 14 themes of the portrait and its spread showed the Qing Dynasty's pluralistic perspective of interpretation, far beyond the single concept of "the bereaved people". The relatively private circulation of the images from childhood to the popularization of the publication of Chin Huai Ba Yan Tu Ching, its characters have long been not limited to the limitations of the images, and have been endowed with vivid and rich legendary color.
【作者單位】： 香港中文大學(xué)藝術(shù)系;

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本文編號(hào)：1981129