图像如何“为史”—《无双谱》中图画再现与图饰评点
How Do Images “Serve the History”
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摘要: 自晚明以来，书籍插图在艺术性和思想性两个维度上不断拓展潜能。清康熙三十三年（1694）刊刻的历史人物图录《无双谱》提供了一个很好的案例。刊刻者金古良兼具诗人和画家的双重身份，受到“诗史”观念的启发，他提出“画亦可为史”。《无双谱》中的“画”包括“再现的图画”与“装饰的图案”两种，前者以其写实功能记录“史实”，后者以其象征意义传达“褒贬”。在这部书中，图像与诗歌互相策应、彼此激发，共同服务于“为史”的目的，并呈现出诗画关系的新模式。采用视觉与社会分析相结合的框架考察《无双谱》，更能剖析文学传统、视觉文化、政治环境等因素如何交织并渗透进一部书籍的打造中。《无双谱》与其他插图书籍一样，都是社会建构（socially constructed）的视觉产品，它从特定的社会文化语境中诞生，也建构着社会文化；它是观念驱动的产物，又反过来影响着人们的观念。Abstract: Since the late Ming Dynasty, book illustrations have been expanding their potential in both artistic and ideological dimensions. A good case in point is the historical illustrated book Wushuang Pu（《无双谱》）, published in 1694. Inspired by the concept of “poetry of historical significance (诗史)”, Jin Guliang, who was both a poet and a painter, proposed that “Images can also be of historical significance”. The images in the Wushuang Pu include both “pictorial representations” and “decorative patterns”, the former recording “historical facts” with its realistic function, while the latter conveys “praise and criticism” by its symbolic meaning. In this book, images and poetry respond to each other and inspire each other, jointly “serving the history” and presenting a new model of the relationship between poetry and painting. This paper examines Wushuang Pu using a framework of visual and social analysis, attempting to analyze how literary tradition, visual culture, and political environment intertwine and permeate the making of a book. Like other illustrated books, Wushuang Pu is a socially constructed visual product that emerges from a specific socio-cultural context and constructs it; it is a conceptually driven product that, in turn, influences people’s perceptions.
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Key words:
- Wushuang Pu /
- poetry of historical significance /
- visual culture /
- decoration
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图 4-1 “奈何降” （刘谌），《无双谱》图4-2 “苍水冰裂” ，明万历滋兰堂刻本《程氏墨苑》图4-3 “治陈乱王义死节” ，明崇祯人瑞堂刻本《隋炀帝艳史》图4-4 功臣名录，清康熙柱笏堂刻本《凌烟阁功臣图》
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