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自汉始,《诗经》就经常成为图绘的母题。南宋年间,宫廷的士人画家马和之,受高宗诏命制作了一系列的《毛诗图》图释《诗经》。此系列图卷日后成为中国美术史研究不可绕过的经典作品。但围绕着《毛诗图》卷仍然存在着不少尚未廓清的问题。本文将探讨《毛诗图》制作的宫廷背景,及其在宋代皇家视角下的政治意涵。
From the beginning of the Han Dynasty, the Book of Songs often became the motif of the drawing. Southern Song Dynasty, the court painter Mahezhi, by Gao Zong Zhao made a series of “Mao Poetry” emblem “Book of Songs.” This series of charts in the future become the history of Chinese art history can not be bypassed classic works. However, there are still many problems that have not yet been clarified around the volume of Mao Poetry. This article will explore the court background of the production of Mao Poetry and its political implications from the royal perspective of Song Dynasty.