摘要
商山四皓和会昌九老是两个不同时代的历史传说,表达的均是隐士主题的故事。本文以故宫本《会昌九老图》卷与辽博本《商山四皓会昌九老图》的不同场景为切入点,发现商山四皓与会昌九老两个不同时代的母题不仅跨越时空在宋代绘画中存在重叠与混用的现象,而且二者存在着流传有序及再造的共生关系。
The Four Hao of Shangshan and the Meeting of the Nine Elders are historical legends from two different eras,both of which express the theme of hermits.This paper takes the different scenes of the Forbidden City's“Huichang Nine Elders Scroll”and the Liao Bo's“Shangshan Four Hao and Huichang Nine Elders Scroll”as an entry point,and finds that not only do Shangshan Four Hao and Huichang Nine Elders,two mother-themes from two different eras,appear to be overlapped and mixed across time and space in the Song paintings,but also that there is a symbiotic relationship between the two in terms of order of circulation and reconstruction.
作者
郭紫嫣
陈谷香
Guo Ziyan;Chen Guxiang
出处
《南京艺术学院学报（美术与设计）》
CSSCI
北大核心
2024年第4期8-15,I0002,共9页
Journal of Nanjing Arts Institute:Fine Arts & Design
关键词
商山四皓
会昌九老
母题混用
隐士绘画
Shangshan Sihao
Huichang Jiu Lao
Mixed use of mother-title
Hermit painting
