论文部分内容阅读
美国克利夫兰艺术博物馆藏《寒林聚禽图轴》因存名款,而传为南宋画家高焘仅见的一幅传世绢本设色花鸟画。一定程度上,基于美国学者高居翰认为高焘有可能出仕金源,因此该画现今被归为金代绘画作品。而笔者辨析的观点是:作为见诸南宋画史邓椿《画继》而籍贯川陕抗金重镇(今陕南汉中略阳)的画家高焘,从无史料证实曾叛降金源,高居翰对此亦语焉不详;根据略阳所处抗金战略要冲的地理背景和《寒林聚禽图》本身创作意境,南宋高焘该画仿佛更可能蕴涵抗金时代征候并具有一定积极政治倾向。这从《画继》作者邓椿与投笔从戎到汉中的著名爱国诗人陆游的交游,以及《画继》本身著录南渡入蜀画家甚夥的取舍上,也可见当年抗金文学、艺术界的一致性。况且高焘名列《画继》特设的“岩穴上士”篇章,足见他是一位带有高士色彩的隐逸画家;想来同时作为众多南宋略阳抗金军民的一份子,高焘是怎么也不可能沦为主动投敌的伪职画家的。玩其画底寓意,“归鸟”、“聚禽”主题似有民族认同归属感存焉。
The Cleveland Museum of Art collection “Hanlin polygamy axis” save the name of money, and pass for the Southern Song Dynasty painter Gao Cheng only a handed down silk color set of flowers and birds. To a certain extent, the painting is now classified as a painting of the Jin Dynasty, based on the fact that Gao Jhan, the American scholar, believes that Gao Yuan may come out as a source of gold. The author’s point of view is: As seen in the history of the Southern Song Dynasty painting “Drawing Following” and native Sichuan and Shaanxi anti-golden town (now Hannan Lanyang Han) painter Gao Yi, from no historical data proved to have betrayed Jinyuan, high John also did not elaborate on it. According to the geographical background of the strategic anti-gold strategic position of Lueyang and the artistic conception of “Cold-wood Polygamy”, the painting by Gao Yong in the Southern Song Dynasty seemed more likely to contain the anti-Golden Age symptoms and had a certain positive political orientation. This is from the “successor” writers Tang Chun and throwing pen from Rong to Hanzhong’s famous patriotic poet Lu You’s friendship, as well as “painting following” itself recorded in Nandu into the Shu painter very choice, also can be seen then anti-gold literature, the art world Sex. In addition, Takatsuki was listed as an adherent of “Painting Following”, and he was a seclusion painter with a nobleman’s style. At the same time, he wanted to be a part of many Lüyang anti-Jin Jun people in the Southern Song Dynasty. How can it be reduced to a pseudo-painter who volunteered for the enemy? Play its meaning in the end, “return to the bird ”, “poly bird ” theme seems to belong to the sense of national ownership of living Yan.