学术讲座第113期 | 李慧漱《空中之音、水中之月——南宋钱塘山水的人文与自然真意》

李慧漱（Hui-shu Lee）

美国耶鲁大学艺术史博士。曾任职于台北故宫博物院，目前任教于美国加州大学洛杉矶校区艺术史系。专长为中国古代书画、视觉文化与性别议题，尤其侧重宋画与南宋时期的艺术。学术论著与出版涉及宋代书画与园林、南宋杭州与西湖、女性与中国艺术史的建构、性别发声与转换, 以及晚明文化与八大山人; 偶亦涉猎现代与当代艺术。代表著作有: Exquisite Moments: West Lake & Southern Song Art 西湖与南宋艺术 (New York: China Institute, 2001). Empresses, Art, and Agency in Song Dynasty China 上善若水：宋朝的后妃与女性艺术推手 (Seattle: University of Washington Press, 2010)，以及即将付梓的《图画西湖：胜景山水之呈现与再造》。

Hui-shu Lee is Professor of Art History at UCLA. She received her doctorate degree from Yale University in 1994 after first studying at Taiwan University and working in the Palace Museum of Taipei. Her field of specialization is Chinese painting and visual culture in the pre-modern era, with a particular focus on gender issues. She also works extensively on representations of place, cultural mapping, and garden culture. Among her publications are Exquisite Moments: West Lake & Southern Song Art (New York: China Institute, 2001) and Empresses, Art, and Agency in Song Dynasty China (Seattle: University of Washington Press, 2010). She is currently completing a book titled Picturing West Lake: the Poetics and Representation of An Iconic Place.

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绘画史上的南宋（1127-1279）时期，面对江南的人文与地理，烟云气雾得景，另辟蹊径，并在“真山水”的论述与体现上，超迈前代，缔造新局。精致雅丽的宫廷艺术与野逸尚简的禅趣，并驾齐驱。雅与野——貌似矛盾与对立的两种视觉创作取向——同时并存于南宋都城临安与西子湖的湖光山色中。南渡后的李唐，山水由实渐向虚转。及至马远、夏珪，钱塘边角山水成立，而禅林画僧牧溪、玉涧亦辈出。应物现形，阔远、迷远、幽远的新三远，具体而微地呈现出景物虚实掩映、声色难以名状的自然意象与言有尽而意无穷的诗意审美趣味。兹不揣，拟就存世实物画迹，管窥此一时空下，圣、俗两界, 山水悟道，展现在艺术上的绮丽与清空，并试探其中的山水真意。

本期讲座为本馆正在展出的“水木湛清华：中国绘画中的自然”系列专题讲座第2讲。

Picturing the Ephemeral explores how a new approach to landscape art emerged during the Southern Song period (1127-1279） as artists were inspired by the misty natural scenery of the south. Arguably, it embodied a paradoxical manifestation in the idea of “landscape of truth” that arose in the earlier landscape art of the tenth century.

During the Southern Song, with the capital adjacent to beautiful West Lake at Hangzhou, two seemingly contradictory aesthetic approaches harmoniously coexisted: the refined elegant court production and the simple and rustic Chan Buddhist art. 

With the court’s move to the south, landscape painters developed a tendency to emphasize the emptiness of space over the solidity of form beginning with the first generation leading artist Li Tang and his followers. The prominence of this development is evident in Ma Yuan and Xia Gui’s trademark diagonal corner compositions, which were later labeled as Qiantang/Hangzhou landscape, while the monk painters Muqi and Yujian resonated with a more abbreviated style.  

In order to capture the transient and evoke the poetic, three new schema of landscape distance were coined to suit the southern landscape’s vaporous airs, obscure lighting and the perception of sound in the dusky evening: broad, misty, and hidden. Overall, this interest in depicting the intangible and ephemeral reflects a new approach in seizing the specific and momentary in ever-changing time and space. In my view, the enlightened pursuit in visualizing transient phenomenon makes the Southern Song ever closer to the discourse on “landscape of truth.”

Thus, in this talk, I take on some of the most representative Southern Song artworks from the realms of both the sacred and profane of the time to illuminate how the ephemeral was visualized and the truth revealed. 

This lecture is the second lecture in the series of "Forests and Streams Resplendently Clear: Reflecting and Representing Nature in Chinese Painting".

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李唐《万壑松风图》 1124 年

台北故宮博物院

萧照《山腰楼观图》

台北故宫博物院

李唐《江山小景图》

台北故宫博物院

李氏《潇湘卧游图》 乾道六-七年（1170-71）跋

东京国立博物馆

夏珪《山水十二景》（四景残卷）

Nelson-Atkins Museum of Art, Kansas City

夏珪《溪山清远图》

台北故宫博物院

李嵩《西湖图》

上海博物馆

牧溪《渔村夕照图》（潇湘八景残卷）

根津美术馆

牧溪《远浦归帆图》（潇湘八景残卷）

京都国立博物馆

牧溪《烟寺晚钟图》（潇湘八景残卷）

东京富山纪念馆明月轩

马远《华灯侍宴图》

台北故宫博物院

马远《华灯侍宴图》局部

台北故宫博物院

马麟《海棠夜坐图》（原题《秉烛夜游》）

台北故宫博物院

马远《雪滩双鹭图》

台北故宫博物院

马远《山径春行图》

台北故宫博物院

宋理宗诗题马麟画《夕阳山水图》 1254年

根津美术馆

宋理宗书《王维诗句》题马麟《坐看云起图》  1256年

The Cleveland Museum of Art

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北京市海淀区清华大学校内，主楼东侧。

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活动统筹/张明 周莹

图文编辑/周辛欣

技术支持/史笑颜

视觉统筹/王鹏

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